Time Out New York's Scores

  • Movies
For 2,701 reviews, this publication has graded:
  • 33% higher than the average critic
  • 2% same as the average critic
  • 65% 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 Russian Ark
Lowest review score: 0 Vampires Suck
Score distribution:
2,701 movie reviews
  1. Zack Snyder's films have some of the best opening-credits sequences in cinema; the unfortunate thing is that there's always a movie after them.
  2. The fully committed Rush, at least, commands our constant attention, and no movie with a kookier-than-usual Ennio Morricone score (dig those staccato-chanting chorines!) could ever be a total waste of canvas.
  3. The film lacks any kind of human interest, relying instead on our inferred love of lengthy strategy sessions and displays of ruffled pride. When it comes to yakuza cinema, you can do better.
  4. Neither as subversively fun as last year’s megadestructive "Project X," nor as creative as "The Hangover" (on which these codirectors broke through as screenwriters), this further installment in the millennials-acting-badly genre serves as a distinctly average placeholder.
  5. If Merchants of Doubt ultimately proves that good data doesn’t often make for good drama, it’s only because this doc is such a hollow slog.
  6. This was Italy's official submission for Best Foreign Film to the 2011 Academy Awards (a red flag more often than not), and, sure enough there's little here that rises above middlebrow.
  7. If Gregorini and Von Furstenberg's goal was to construct a cinematic Sunday Styles spread of the plaid-skirt-and-tie crowd, then kudos. As filmmakers, however, these two have some serious growing up of their own to do.
  8. The satire rarely stings, as first-time feature directors Declan Donnellan and Nick Ormerod give a polite Masterpiece Theatre gloss to this most impolite of tales.
  9. So it's no surprise that what starts out as a beer-soaked cringe comedy about stunted masculinity ends up deep in the woods with noise-loving Japanese tourists and exploding craniums - or that such detours into psychotronic oddity for its own sake can make even a 75-minute running time feel like an eternity.
  10. The more the veteran actor strives to give Joe a final dose of funereal dignity, the more the film around him seems intent on deep-sixing its MVP.
    • 54 Metascore
    • 40 Critic Score
    Detailing his efforts to distribute Bananas!*, his 2009 exposé on Dole's use of toxic chemicals in Nicaragua, Swedish documentarian Fredrik Gertten's latest plays as an occasionally fascinating, if ultimately reductive, showdown between First Amendment rights and corporate power.
  11. It could have been so much worse; we wish it was a lot better.
    • 67 Metascore
    • 40 Critic Score
    Elevate works as a sympathetic portrait of cultural adjustment (learning in a nonnative language, sticking to Muslim dietary restrictions), but never adequately addresses the problems of what's essentially a neocolonialist system designed to shape impoverished Africans into first-world profit-makers.
  12. Non Stop doesn’t know how to hit it and quit; it’s a rock doc that screams loud and says frustratingly little
  13. All of them slog through countless boring sword-and-sandal skirmishes, none of which feel remotely suspenseful, until the hugeness of it all becomes a mildly passable joke.
    • 83 Metascore
    • 40 Critic Score
    The Flat details his efforts to understand this unusual situation, and although the film suggests that his relatives may have maintained this odd friendship as a denial of their homeland's betrayals, there's only so deep Goldfinger can dig.
    • 56 Metascore
    • 40 Critic Score
    While the documentary offers some insights into the pervertion of art for ideological purposes, too much of it simply finds Fry standing in dumbfounded awe of the holy sites that populate his journey.
  14. There's shockingly little thrill in watching Carano bounce off walls and pummel antagonists.
  15. A tedious example of speculative fiction.
  16. This is like a subpar "Naked Gun" feature cooked up by Eisenstein and Godard during a drug-addled lost weekend. Where's Leslie Nielsen when you need him?
  17. Steven Peros's character study is clearly designed as an homage to vintage Tinseltown mystique, so it's a pity that the old guard would have been mortified by Peros's rudimentary craftsmanship and Temtchine's thudding performance as a walking metaphor for L.A.'s young, A-list–averse idealists.
  18. The filmmakers are too much in love with their made-up holiday to observe it to the fullest.
  19. In theory, there's nothing wrong when a movie reminds you of TV. (That's where the fun is, anyway.) But when a movie resembles a long-lost, corduroy-clad episode of "The Rockford Files," that's a problem.
  20. Cool, it's a rom-com featuring the man who'd influence Romanticism.
  21. What's surprising is that Rogen and Streisand have a genuinely complementary chemistry, feeding off each other in a way that suggests that, given a halfway decent script, the two would make a better-than-decent screen duo.
  22. Even if you can miraculously avoid comparing this take on rock & roll record maker Leonard Chess (Nivola) to 2008’s similar Cadillac Records, Jerry Zaks’s lukewarm biopic still won’t get your fingers snapping; it’d be a runt in any litter.
  23. [Viewers] won’t find much here besides Langella’s typically austere performance, some lazy character sketches...and the sensation one gets after having watched paint dry, painfully slowly, on a canvas.
    • 30 Metascore
    • 40 Critic Score
    Teenagers are jerks (it’s a scientific fact) but if you have one as your protagonist, they need a redeeming quality or two.
  24. Even with incredible fight footage, however, all we have here is a standard if formless ESPN hagiography, complete with a cheesy cop-show score and little sense of who these guys are outside of the ring.
  25. Both Reitman and his first-rate cast do their best to add depth. The real tragedy of Young Adult, however, is the story's lack of tragedy.

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