Time Out New York's Scores

  • Movies
For 2,626 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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Another Year
Lowest review score: 0 Vampires Suck
Score distribution:
2,626 movie reviews
  1. Depending on what you need from this movie, there's slight redemption in its full-on commitment to raunch, both in baby-shit–to-mouth scatology and some choice zingers.
  2. Yet even with the rich, inherently cinematic texture of the urban setting and two excellent native outer-borough actors in Morales and Reyes, Gun Hill Road falters thanks to its paint-by-numbers storytelling.
  3. Protektor is simply another in a long line of diluted stories about life during wartime, one whose diminished returns only further trivialize a legacy of real-life horror.
  4. Spencer, a superb performer mainly known for small character parts, gives a star-making turn as the won't-take-no-guff Minny.
  5. 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.
  6. The hard fact, though, is that Harlin's instincts - always toward the massive and slo-mo - make him a fairly dunderheaded political analyst.
    • 49 Metascore
    • 40 Critic Score
    Ford has come up with a nifty way of exploring the enduring allure and troubling underside of the superhero myth. It's just too bad his own all-too-human powers aren't quite up to the task.
  7. 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.
  8. That all sours by the time of the film's "shocking" climax, which is so hilariously telegraphed, it plays like a Benny Hill gag rather than a tear-duct stoker.
  9. The closer this parable inches toward tragedy, the more you can feel the gap between good intentions and generic exotica-grandstanding widening into an unbridgeable chasm.
    • 24 Metascore
    • 40 Critic Score
    Surprise! The upper-middle-class family is still rotten to the core. In Vivi Friedman's overstuffed farce, the parents cheat on each other, the daughter dresses like a streetwalker, and the Bible-thumping son starts carrying a Glock.
  10. Director Jeanne Labrune (Vatel) makes the most out of having a compellingly watchable movie star at her disposal, but neither some odd stabs at humor nor Huppert's versatility do much to enliven what's essentially a superficially sexed-up soufflé.
  11. Despite the chronological juggling, the film's stylistic debts (a Hitchcock flashback borrowed from Stage Fright, a Bertolucci-esque apartment sequence that could be titled Last Tango in Auschwitz) are simplistic to a fault; they lack the multifaceted suspense and sensuality typified by those directors at their best.
    • 58 Metascore
    • 40 Critic Score
    Despite the attention the film pays to the divide between the man as the ungainly, loving second-gen immigrant versus the boozy provocateur, it's not a portrait of much psychological depth.
  12. Documentarian Jon Foy spent a decade following both the phenomenon and those who've tried cracking the code, and while his film offers little in the way of answers, it says volumes about delusional obsessives.
    • 22 Metascore
    • 40 Critic Score
    The equivalent of a skin flick in which all the sex scenes are tastefully obscured by blankets and sheets.
  13. The film doesn't come within spitting distance of vintage Landis, e.g., "Animal House" or "An American Werewolf in London." But at least it's not "The Stupids."
  14. 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.
  15. The repeated sight of people watching video monitors or communicating with others via laptops becomes a stilted, gimmicky affectation, and there are only so many times you can watch a camera panning and zooming over still photos before your tolerance for the Ken Burns effect reaches its limit.
  16. Throw in some quirky interludes of a Norwegian quartet singing old American spirituals every so often, and you've got something that's truly messy, messy.
    • 49 Metascore
    • 40 Critic Score
    Any analysis of her philanthropy or character is traded for blind idol worship; only intermittent footage of the subject interacting with the natural environments she hopes to save (hippo habitats, arctic snowscapes) manages to sidestep bland reverence.
    • 38 Metascore
    • 40 Critic Score
    Writer, director and star Fuller posits a dichotomy between belief and scientific rationality, only to gull us into accepting the former.
  17. 3
    No matter what the film says about sexual fluidity, you can't shake the feeling that 3 exists primarily to justify a shot of three figures impeccably posed together on a mattress. Everything else is reduced to trumped-up afterthoughts.
  18. So-so contemporary shows and cantankerous arguments are favored over in-depth looks at Reid's legacy. Any genuine weirdness about a funky, filthy-mouthed freak running around in a costume is left AWOL.
  19. A few awesome firefights does not an action film make, and even De Niro's Ronin-esque interlude can't shake the feeling that the thrill, like the '80s, is gone.
  20. Childers's varied, charitable life story warrants a movie, but whether that means it's okay to simply mash up sappy Christian piety and action-movie chaos is highly debatable.
  21. Barkin may be the equal of Gena Rowlands or Liv Ullmann. Her director's clumsiness, however, suggests he isn't fit to hold Cassavetes's or Bergman's old camera cases.
    • 57 Metascore
    • 40 Critic Score
    The first-person source material might explain the one-sided account of the struggle, but the film is crippled by its underhanded treatment of Bonham Carter's character, including a healthy dose of unmitigated middle-class snobbery.
  22. It may be petty to dismiss such a rags-to-much-better-rags story, but given how manipulatively constructed this music doc is, even in its rawest moments, you still leave feeling like you've been played.
  23. Bunraku aspires to be "Kill Bill: Vol 3"; it's more like an ornate pitch for a "Dick Tracy" reboot.

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