Time Out New York's Scores

  • Movies
For 2,692 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 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Russian Ark
Lowest review score: 0 Vampires Suck
Score distribution:
2,692 movie reviews
  1. Closer to a special episode of "Diff’rent Strokes" than to "12 Years a Slave," the movie seems to exist to give its white characters belated moments of conscience.
  2. As we work our way back to that cliff-hanger of an opening, it becomes clear that the movie is no acid critique, but a hollow endorsement of high living. Guess every generation gets its "Boiler Room."
  3. Mona Achache's character study plays like a Gallic version of a Sundance flick, complete with on-the-nose references - Igawa's character is named Mr. Ozu - and just enough offbeat touches to make it seem more deep than it actually is.
  4. This slapdash parody will simply inspire shrugs.
  5. Merely a paint-by-numbers condemnation of social intolerance. It's a slog of a sermon.
  6. While the movie isn't "Witness," you know that comic scenes of target practice are going to make sense around the bend.
    • 51 Metascore
    • 40 Critic Score
    The film cuts with such precision that there's scarcely any room to breathe; it's the rare thriller that is perhaps too tightly structured.
    • 33 Metascore
    • 40 Critic Score
    At least this tepid satire can coast on the charms of its cast.
    • 46 Metascore
    • 40 Critic Score
    Codirector Ami Horowitz hogs the screen like a cut-rate Michael Moore, bringing a numbingly simplistic irony and smug self-satisfaction to his faux–rabble-rousing exposé.
    • 37 Metascore
    • 40 Critic Score
    A standout in smaller parts in films like "Kaboom" and "Atonement," this frizzy blond actor has the air of a star-in-training in search of the right opportunity. This isn't it, unfortunately, but Temple does turn what's essentially a magical-hussy role into something more grounded and human.
  7. The overall fist-pumping rhetoric (lots of earnest reciting of Abu-Jamal's prose) and a failure to address the possibility that he might have, in fact, shot that cop in 1981 make this profile more hagiography than history.
    • 13 Metascore
    • 40 Critic Score
    Clichéd and formulaic.
  8. The story's treacly all-souls-in-alignment outcome is never in doubt, but as Kasdan dogs go, this is light-years better than Dreamcatcher.
  9. Cracks simply doesn't make the grade.
  10. LUV
    With its rock-skimming male bonding alternating between grisly homicides and a florid Mexican standoff that begets a tidy take-the-money-and-run finale, this tale seems less timely than merely tall.
  11. The impression is less of calculated ineptitude than of seasoned professionals (director Tod Williams made The Door in the Floor) playing dumb, as a checklist of household items-frying pans, endlessly shutting doors, a pool cleaner with a mind of its own-test viewers' reflexes.
    • 48 Metascore
    • 40 Critic Score
    Somebody give Werner Herzog an IMAX camera already, and let's see what a real filmmaker does with the format.
    • 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.
  12. Only the mighty Fonda cuts through the claptrap; the rest is just a long, predictable trip.
  13. Director Maya Kenig's film never decides whether it wants to be a social satire, a familial drama or a parable about Israeli life during perpetual wartime; that it neither picks a route nor cohesively combines any of those strands doesn't make a fairly generic father-daughter story any more colorful.
    • 17 Metascore
    • 40 Critic Score
    Writer-director Austin Chick throws in echoes of Abel Ferrara's feminist grindhouse classic "Ms. 45," but the provocation feels hollow and the stylish direction - filled with pensive slo-mo - just slows things down.
  14. This writer-director still has some evolving to do.
    • 45 Metascore
    • 40 Critic Score
    The story of a young woman (Juno Temple) discovering that she is both a lesbian and a werewolf, Bradley Rust Gray's oddball horror parable starts with an irresistibly trashy premise and proceeds to treat it with the po-faced pretentiousness of a film-school thesis.
  15. The paeans about national pride and brotherhood may be regional, but constant slow-motion battle scenes and squishy sentimentality are strictly wanna-be Tinseltown.
  16. With the film heavily favoring extensive on-court footage at the expense of in-depth individual portraits, the “more” offered here is merely skin-deep, basketball-is-a-brotherhood uplift.
  17. Reitman, who also cowrote the screenplay, feels the constant need to "deepen" his characters, granting them wants and motivations--especially during the moralistic third act--that are totally alien to how they're initially portrayed.
  18. Queens-born horror specialist Stevan Mena has mastered the slow camera creep and the unusually artful vista-he even composes his own orchestral scores, good ones. But he needs to give up screenwriting, pronto. Put down the laptop, Stevan.
  19. The star and co-director appears hopelessly out of place, trapped in a variety of awkward-fitting uniforms while forced to offer up laughably obvious battlefield advice ("Avoid gunfire!").
  20. Palmer's acknowledgement of his own involvement in, and thrill at watching, these events speaks volumes, but simply showing generations of pasty, fat men pounding each other to a pulp shouldn't be mistaken for an in-depth exploration of Gaelic machismo.
  21. Vampirism is the new monstrosity du jour, and with Cirque du Freak: The Vampire’s Assistant, tweener boys get their own testosterone-infused variant of Twilight.

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