Time Out New York's Scores

  • Movies
For 2,659 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 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Our Children
Lowest review score: 0 Vampires Suck
Score distribution:
2,659 movie reviews
  1. Pornography: A Thriller may have a few interesting things to say about porn. But thrills? Not so much.
  2. This highly fictionalized look at the Wild West early days of Internet porn is off-putting in almost every way, with sledgehammer stylistic flourishes (incessant shaky-cam; a Rolling Stones musical cue as ironic comment) and dialogue that sounds like it was written in a testosterone-fueled haze.
  3. Since this is a House of Mouse production, sentimental order must inevitably be grafted onto nature's pitiless chaos. The cornball voiceover ascribes human wants and desires to the animals.
  4. Even by the stultifying standards of everything's-screwed ensemble movies, Joseph Infantolino's thirtysomething drama feels particularly threadbare.
  5. Rio
    Compared to Pixar's "Up," a much more organic and heartfelt story about making friends in far-flung places, Rio simply feels rote.
  6. A single arresting shot of a photographer chasing a man on fire says more about journalistic ethics and the queasy power of the image than all of the speechifying and star-posing combined; if only the rest of this muddled movie had as much insightful Sontagian bang.
  7. Some ventriloquists win the fame game, while some remain stuck in the D-list dugout. The fact that Dumbstruck doesn't even attempt to differentiate these camps makes the film feel as if it's just talking out of the side of its mouth.
  8. Sorvino's Bronx bawler veers from mascara-streaked monster to outer-borough sage as each scene requires, while Savoca's agitated camera strains for handheld immediacy but ends up just looking amateurish and ugly.
    • 49 Metascore
    • 40 Critic Score
    None of the chapters use the unifying formal conceit to any real advantage; only one, directed by Timo Tjahjanto and The Raid: Redemption’s Gareth Huw Evans, is worth a rental.
    • 40 Metascore
    • 40 Critic Score
    Even before Wilson goes full Jack Torrance and Barbara Hershey shows up to investigate an abandoned hospital Scooby-Doo-style, one could technically call this sequel a gorefest—thanks to the guts of every other horror movie being splattered across the screen.
  9. From the moment Joel Schumacher's dour teens-in-crisis melodrama establishes its group of spoiled (and so, so unloved) Manhattan silver-spooners, you long for anything to leaven the tsk-tsk prurience.
  10. Darren Aronofsky’s big-ticket retelling of the biblical legend of Noah (Russell Crowe, so damn serious) is a wildly stupid, yet still train-wreck-fascinating piece of work.
  11. Rather than an argument or exposé, the movie is a condescendingly narrated demonstration of how money makes the movie world go round. (Stop the presses.)
  12. Perhaps the most hypercurrent thing about Gluck’s film is how it espouses the value of family while actually celebrating products as the only true form of modern connection.
  13. The movie's twitchy, diabolical monster is neither persuasive nor historically tenable, and unlike Arendt's Eichmann, he's far too easy to dismiss.
  14. Cutesy and generic, New York, I Love You is almost colossally inept at capturing five-boroughs flavor.
  15. You get the "girl," but little else; even as a tribute to one woman's determination, this semibiopic screams botched opportunity
  16. Though based partly on actual events, Ruben Fleischer's ludicrous shoot-'em-up plays fast and loose with the facts, and plenty else besides.
  17. The Losers is the ultimate example, scraped from the bottom of the comic-book barrel, where writer Andy Diggle’s figurine-like characters first had their exploits in an exciting War on Terror.
  18. The movie's infrequent martial-arts centerpieces deliver the feeblest of punches.
  19. These kinds of disease-fueled dramas already tend to be soap-operatic, but Kohlberg isn't taking any chances; by the time father and son end up at a Dead show in matching tie-dyed outfits, the director has aggressively, insistently overplayed audience heartstrings like Jerry Garcia in a long-winded solo.
  20. It's a saga whose clichéd corniness would be practically sinful if not for the mighty Gugino, who almost counteracts the material's pap with megawatt charm and steel-tough resolve - exemplified by a low-angled intro shot of the poised, strutting, tight-sweater-sexy actress.
  21. There's inherent drama in watching a person amble up a mountain, but it's an act of bad faith to oversell a stunt.
  22. When it comes to human emotions, however, the filmmaker is all thumbs, crassly fumbling for audience response via clichéd uses of dropped-out sound and the occasional twinkling piano.
  23. The curtain can't come down fast enough.
  24. More than a moral dilemma is needed to make up for the uneven performances, slack pacing and wonky dialogue, and while MacLean certainly has a keen eye, the rest of his storytelling facilities haven't quite caught up with it yet.
  25. Cheap Thrills is little more than low-budget torture porn for the doobie-addled dudebro contingent.
  26. Without larger-than-life drama or a steady stream of historical detail, it's merely a gargantuan production that's been lavished on a story hardly worth trumpeting.
    • 41 Metascore
    • 40 Critic Score
    Factor in a questionable use of 9/11 footage, and this is one film as misguided as the business-as-usual subject it aims to critique.
  27. Best is Viggo Mortensen's William S. Burroughs proxy Old Bull Lee, holed up in a perspiration-saturated Louisiana mansion with a shell-shocked Amy Adams and a gas-huffing chamber at the ready.

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