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. It's all too much and not enough—a succession of disparate, can-you-top-this episodes inelegantly piling up like skidding cars on a freeway. And that's not even taking into account the action scenes. Lord, those action scenes: Monotonous, loud and relentless, they're a punishing example of the self-satisfied, digitally augmented ephemera that typifies modern Hollywood moviemaking, and House Bruckheimer in particular.
  2. This is a superhero movie that feels like it might have been made by anyone and no one at the same time, simply space-filler before the next big team-up movie.
  3. Reducing an influential genius to a bohemian Zelig with a firearm fetish misses the forest for the flaming metal trees; in Leyser's biographical interzone, the superficial trumps the truly subversive.
  4. Lone Scherfig directs it all as if it were a breezy lark, so a third-act tonal shift makes for an incongruous, excessively moralistic fit with everything that’s preceded. Most insulting, though, is the way in which the climactic passages miraculously tidy up every frayed edge of Jenny’s life.
    • 48 Metascore
    • 40 Critic Score
    We see a storybook landscape enchant the pair, but we never feel it.
    • 51 Metascore
    • 40 Critic Score
    This is merely a vanity project that shamelessly plugs Roitfeld’s new stateside brand.
    • 45 Metascore
    • 40 Critic Score
    The gallery of eccentric ex-lovers provides a few yuks, but the fact that the film's trajectory sees going from sexuality-owning independence to conventional respectability as a quantum leap is remarkably depressing, even if Angela's final resolve complicates such an easy progression.
  5. This isn’t revisionist history; it’s a key moment in political radicalism reduced to an empty pop-cultural posture.
  6. An eerie resurrection regains some good will, but we'll have to wait for Neshat to catch up with the art of storytelling.
    • 51 Metascore
    • 40 Critic Score
    Luisito (Perez) is the only vegetarian butcher working in the Dominican Republic-which may, alas, be the only original aspect of this well-intentioned, well-worn revenge saga.
  7. One's heart sinks the moment the trio is picked up by Prince Caspian (Barnes) and deposited on his ship, the Dawn Treader. Suddenly we're in green-screen land, where everything looks cheap, heavily digital and unfortunately postconverted to 3-D-hardly a fantastical otherworld.
  8. Sadly, “Get out of my lab!” is not the new “Get off my plane!”
    • 43 Metascore
    • 40 Critic Score
    Deserves some kind of Bizarro World Robert Altman Independent Spirit Award for the Best Ensemble in the Least Interesting Movie.
    • 49 Metascore
    • 40 Critic Score
    Why anyone would think that home movies of the director and his kids belong in a social-issues doc is a truly WTF question.
  9. Impassioned, but wearisomely didactic, diaspora drama.
  10. Better to defrost "Alive" or "The Edge" from the video icebox.
  11. Green was meant for quick-witted comedy. Unfortunately, she's becoming a mainstay of painfully sincere slogs.
    • 41 Metascore
    • 40 Critic Score
    Nygard’s mildly insipid, occasionally condescending tone makes you long for the bombast of early Michael Moore.
    • 35 Metascore
    • 40 Critic Score
    The bulk of the film inspires little more than eye-rolling and impatient finger-tapping.
  12. The film is set in a celeb-owned Miami restaurant and many of the gags--exploding entrees, the swallowing of a diamond ring, on-the-job drunkenness--feel like leftovers.
  13. For an especially egregious bit of miscasting, look no further than Mena Suvari, star of this tony adaptation of Ernest Hemingway's posthumously published novel about a disintegrating marriage.
  14. These guys belong in the avant-odd pantheon. They also deserve a stronger, more penetrating tribute.
  15. The movie sags after Mary’s weak-willed acquiescence to crime, instantly turning her into a dull-eyed monster. You know her procedures are bound to stray from elective, but it’s hard to care.
  16. Trespass is assembly-line product through and through - unabashedly mediocre and instantly forgettable. A Joel Schumacher joint, in other words.
  17. So narratively old-fashioned it creaks.
  18. Lee and Schamus make history blandly palatable; in the process, they rob the times and the people they’re portraying of their complications.
    • 34 Metascore
    • 40 Critic Score
    Director James McTeigue (V for Vendetta) films most fights in impenetrable shadow, punctuated by death screams, blood splatters and CGI throwing stars glinting from some unseen light source.
  19. Offers an intriguing outsider's document of Russian culture reinventing itself from the outside in; its main export, however, seems to be good old-fashioned Ugly Americanism.
    • 48 Metascore
    • 40 Critic Score
    There’s ambition here, but little in the way of insight or genuine feeling — just a heavy-handed thesis and some extraneous Southern eccentricity.
  20. As ever with this series, the shocks are cheap but effective, and the shaky-cam aesthetic adds an unsettling layer of realism (if you’re willing to overlook the innate ridiculousness of the film-everything concept).

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