Time Out New York's Scores

  • Movies
For 2,561 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 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Attack the Block
Lowest review score: 0 Vampires Suck
Score distribution:
2,561 movie reviews
  1. A lot of history gets horned into this undeniably inspirational parable, though slick execution and simplistic storytelling make it a lesson suitable only for easily impressed elementary-school students.
    • 44 Metascore
    • 40 Critic Score
    Brings nothing new to the coming-of-age dance film. Worse, director Carmen Marron seems as bored with the movie's protagonist as we are.
  2. Famous fans (Rosanne Cash! Oprah!!!) attest to the book and film's greatness, but at best, this is a half-hour A&E Biography episode padded out to feature-length with forgetful trivia, frustratingly facile history lessons and far too much fawning.
    • 57 Metascore
    • 40 Critic Score
    While his film is engaging enough when covering curiosities like a funeral directors' convention, the fact that it lacks an authorial voice of its own is a dealbreaker.
  3. Dedicating a movie to John Hughes doesn't equal capturing the master's ear for the universality of adolescent angst.
  4. First-time director J. Clay Tweel oversells the importance of both the Vegas event and of magic in general-you'd think he were filming a spiritual movement rather than hidden-ball tricks. His wide-eyed subjects do make magic happen-but that has less to do with illusion than innocence.
  5. The new movie is simpler plotwise (a race to the Fountain of Youth), while at the same time being somehow more deadening.
  6. Whistle-blowing works best without gratuitous pop-doc debris, but there are only so many dry, fact-heavy testimonies from engineers you can take before a certain dullness uneasily settles in.
    • 58 Metascore
    • 40 Critic Score
    Each of the three intercut stories in Hello Lonesome - all dealing with characters trying to overcome solitude - begins promisingly enough. Eventually, though, they all run aground on questionable decisions.
  7. While the filmmaker may favor a classic Amerindie art-house style - shaky cameras, peekaboo framing, fill-in-the-gaps storytelling - he doesn't offer much in the way of corresponding insight regarding this social-issue case study, preferring to just construct a bare-bones stage on which his gifted performers can rage.
    • 72 Metascore
    • 40 Critic Score
    No movie that includes Tharpe's blistering electric guitar and the soaring falsetto of the Swan Silvertones' Claude Jeter can be all bad, but it's astonishing how little this time capsule adds to its phenomenal source material. You might even call it a miracle.
  8. This boppy biopic pushes a wealth of outrageous incidents while never making anything resembling a point.
  9. A favorite at this year's SXSW, Kyle Smith's real-time look at curdled relationships is a modest take on indie psychodramatics - and little else.
    • 53 Metascore
    • 40 Critic Score
    Cast largely with untrained actors and musician friends, including Shins singer James Mercer and Sleater-Kinney alumna Carrie Brownstein, Some Days unspools in a depressive deadpan that might be more effective were the characters' plights not so clearly of their own making.
  10. It's just another franchise nonstarter to toss in the superstore superhero deal bin.
  11. The books' ingenious wunderkind is MIA here, replaced instead by a generic eye-rolling, motormouthed preteen bopping around rote set pieces.
  12. Whenever this Lantern returns to terra firma (too often), its imaginative flights are ground down under the Warners overlords' demographic-pandering heels.
  13. Ugh! For a movie devoted to an alleged geek-rebel underdog, this coming-of-age flick couldn't be more conformist, from its familiar faux quirk to the interchangeable emo-pop songs peppering each sugary montage.
  14. Some kind of napping for sure: The line between rigor and tedium is crossed in this Madrid-set home-invasion thriller, captured in a dozen or so claustrophobic shots but impoverished as a piece of drama.
  15. Jig
    Class, gender and ethnic issues get pushed to the sidelines in favor of rote who-will-win suspense; all that finger-crossing and Lucky Charms flavoring, however, doesn't keep Jig from being just another in a long line of nonfiction soft-shoe routines.
  16. The razzle-dazzle can't distract from the monotonously overstuffed spy-film plot.
  17. 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.
  18. There is no depth or resonance to anything we see and hear-everything is as it seems, no more, no less, and the reactionary superficiality dulls the senses. General Orders No. 9 strains for elegiac profundity and ends up as bad, backward-looking poetry.
  19. The question of whether the couple can overcome respective traumas and inbred social attitudes is essentially moot; the real query is how much insufferable Gallic tweeness you can stand before simply shouting "no, merci!"
  20. All the problematic aspects of the Hollywood bad boy's filmography - reactionary rah-rah patriotism, sneer 'n' drool female fetishization, callously detached bloodletting - remain in soul-shattering force.
  21. Though both lead actors are able to coast for a while on their natural charm, it's evident by the soppy finale that their "Sleepless in Seattle" and "Pretty Woman" salad days are long past.
  22. Writer-director Nick Tomnay needlessly convolutes what should have been a taut, focused two-hander with flashbacks, alternate realities and too-clever-by-half reversals.
    • 54 Metascore
    • 40 Critic Score
    It's about as deep as an afternoon of people-watching.
    • 43 Metascore
    • 40 Critic Score
    The movie isn't without its charms, with several supporting characters - a hotel-desk clerk, a French police chief - adding a touch of "Pink Panther"–esque humor to the mix.
  23. Breillat, as always, goes her own way, but her impressionistic scenes barely cohere, even at this brief running time.

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