Time Out New York's Scores

  • Movies
For 2,680 reviews, this publication has graded:
  • 32% higher than the average critic
  • 2% same as the average critic
  • 66% lower than the average critic
On average, this publication grades 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Close-Up
Lowest review score: 0 Vampires Suck
Score distribution:
2,680 movie reviews
    • 53 Metascore
    • 40 Critic Score
    It's a rebound-romance movie that's simplistic but sweet, an uncomplicated cinematic bonbon. It'll only take a few quick bites, however, before you'll be ready to move on to something meatier.
  1. The razzle-dazzle can't distract from the monotonously overstuffed spy-film plot.
  2. Good policy does not ensure good drama; Gerrymandering summarizes an urgent issue but forgets to detail the true fallout.
  3. A tepid rom-com, replete with a nostalgic Bangles tune.
  4. Even the admittedly thrilling gameplay footage and time-capsule news reports are couched in contexts that seem crudely sketched out.
  5. Fresnadillo, working with screenwriters Nicolás Casariego and Jaime Marques, might be angling for the same YA fantasy as "Pan's Labyrinth," but they've forgotten about that film's violent underpinnings, a mistake that leaches their movie of suspense.
  6. Only Andrea Riseborough comes close to rising above it all, and even she’s undone by what may be the crassest climactic slo-mo montage ever. The lucky will have logged off by that point.
  7. The Fifth Generation filmmaker has aced such recipes before (e.g. The Emperor and the Assassin); this time, both the spectacular and the human elements have apparently been offered to the gods.
  8. The movie leans on symbolic imagery that’s alternately tired and ridiculous: Hunt’s impatiently flicked cigarette lighter (yes, he’s a candle waiting to be lit) or a black-widow spider crawling up the stands of one particularly dangerous course. These are classic frenemies; their tale deserves more gas in the tank.
  9. Unlike Carroll’s perversely idealized protagonist, Burton’s Alice is just another anachronistic feminist tearing down Victorian patriarchal norms. Even her—[shudder]—Avril Lavigne–blared theme song is a skin-deep grrrl-power accessory.
  10. Gerwig is plenty charming, considering the rote stuff she has to work with. Yet this still feels like a real devolution - hopefully short-lived - after her distinctively eccentric turns in "Greenberg" and "Damsels in Distress."
  11. Favreau's direction is so boulder-heavy-the action sequences, especially the climactic assault on the alien mothership, are an eye-and-ear-shattering mess-that the small moments of poetry...are lost amid too much digital sound and fury.
  12. Even though the Bello-Hurt thread is unconvincingly brought up to date at the end, this inside-out movie gets good mileage out of letting us watch characters watch each other.
    • 67 Metascore
    • 40 Critic Score
    Children of Invention seems furiously scribbled in shorthand, undermining what it has to offer in contemporary resonance.
    • 62 Metascore
    • 40 Critic Score
    Newlyweeds looks and sounds primo. Storytelling-wise, however, it’s more than one toke over the line.
  13. There’s little of the Church’s perspective in this doc, but you can’t really fault the filmmakers--Mormon leaders refused several overtures to participate. Read more: http://newyork.timeout.com/articles/film/86550/the-mormon-proposition-film-review#ixzz0r2j38wUF
  14. Madden pads the film with shimmering images of Jaipur and its surroundings; a midmovie funeral sequence - 'cause somebody's got to kick the bucket! - even manages to be somewhat evocative and moving. The rest makes you long for senility to set in, but quick.
  15. The first Reitman film to make the 36-year-old director seem about 400 years old.
    • 61 Metascore
    • 40 Critic Score
    You'd have to possess a heart colder than the Northern tundra not to care about these poor animals working their flukes off to jerk audience tears, but emotional manipulation or not, this is still a movie about people standing around a hole waiting for something to happen.
  16. The movie is one big scream, clichéd and hardly credible as an oblique call to civility.
  17. There are sparks here that suggest the smarter movie a more scientifically minded director--say, David Cronenberg--might have made.
  18. It isn't long, however, before the film's caricatured bad-guy shtick starts to wear gossamer thin, and an overabundance of "clever" twists-no one is [Yawn] who they seem to be! - begins to sap whatever little goodwill has been built up.
    • 43 Metascore
    • 40 Critic Score
    "Chocolat" director Lasse Hallström’s tastefully old-fashioned melodrama has exactly one objective: yanking gallons of cathartic tears out of your face by any means necessary.
  19. Kudos for stepping outside your comfort zone, sir, even if the result just translates as old-fashioned cultural slumming masked as tear-jerking humanism. Better luck next time.
  20. This charmless movie thinks it can soft-sell its date-night love story and its media meta-jabs without people feeling they've been bamboozled on either count.
  21. To her credit, Howard’s performance as a class-obsessed Southerner is decent enough to keep things from completely devolving to community-college level. But such weak work needs strong hands all around to guide it, and one pair isn’t enough.
  22. The film’s Antarctic framing device (wait, what?) feels unearned and distracting, regardless of its veracity. But there’s plenty to behold, including a killer Gâteau Saint-Honoré.
  23. Defined by "Three’s Company"–grade humor, this attempt at male-anxiety cringe-comedy is little more than a sitcom writ large that — courtesy of several awkward transitional fades to black — already feels constructed to accommodate commercial breaks.
  24. The fact that the film’s title is an Arabic word for “olive,” as in holding out said branch to your foes, gives you a sense of what Israeli filmmaker Eran Riklis (Lemon Tree) is going for: a melodrama with a do-we-all-not-bleed? moral.
  25. People become mere punch lines: fleshy avatars for the gory grist.

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