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
    • 41 Metascore
    • 40 Critic Score
    Palin may have lost her taste for the responsibilities of office, but thanks to Broomfield's barely veiled condescension, this slightly prejudiced portrait could win her more supporters than it loses.
    • 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.
  1. 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!").
  2. Other than giving Almodóvar regulars Carmen Maura and Lola Dueñas plum supporting roles, that's the best you can say about Philippe Le Guay's trite-to-intolerable tale on the discreet eye-opening of the bourgeoisie.
  3. Trespass is assembly-line product through and through - unabashedly mediocre and instantly forgettable. A Joel Schumacher joint, in other words.
    • 37 Metascore
    • 40 Critic Score
    She never figures out what, exactly, the deal is regarding our short attention spans, but her ADD-afflicted film definitely provides evidence that they exist.
  4. Spacey is ever the pro, shilling Axle's absurd redemption and countenancing the likes of Johnny Knoxville and John Stamos as if a third Oscar were in the offing. Yet his female costars fare worse, forming an unfortunate collection of dismal, man-dependent stereotypes, from Belle's perma-pouting idealist to Heather Graham's breast-obsessed, sapphic-by-choice ballbuster.
  5. 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.
    • 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.
  6. 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.
  7. 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.
  8. The documentary soon becomes just a chronologically structured update of continuing progress, one that functions like a mildly engaging but generally inconclusive "Time" magazine feature. Anybody throwing the word revenge around right now is being a tad premature.
  9. Muskets and swords are a bit old-fashioned for the director of "Resident Evil" - Paul W.S. Anderson has added flying battleships and elaborate diamond heists. (With material as shopworn as this, an anachronizing approach seems as valid as any.)
  10. It's hard to truly hate any movie whose ending revolves around a clever Where's Waldo? gag. It's also near impossible to take it seriously for that exact same reason.
  11. The pomo thrill was already wearing thin a few "Shrek" entries ago; here, the reliance on self-referentiality really risks coming off like yesterday's Purina.
  12. Like a "Training Day" for spy thrillers, The Double provocatively pairs Gere and Grace as a gray-green odd couple, only to unravel as the double-crossed absurdities pile up and the duo start trading bad Russian accents in a private Mexican standoff. Oh nyet you didn't!
  13. The predictability is crushing, and with movies like "Crazy Heart" and Sofia Coppola's distinctly personal "Somewhere" so close in the rearview, David M. Rosenthal's estrangement drama feels especially soft.
  14. Niccol's attempts at satire are toothless.
  15. 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.
  16. Cool, it's a rom-com featuring the man who'd influence Romanticism.
  17. A set piece involving a skyscraper and a sports car proves he can induce sweaty palms, but one nail-biting moment and some much-misssed Murphy mouthiness won't keep you from feeling like you're the one being ripped off.
  18. J. Edgar is infuriatingly coy and noncritical about its subject, an undeniable patriot but also an alarmist and a ruiner of lives.
  19. Content to be a typical piece of tween rural-versus-urban fluff from the old Hannah Montana: The Movie mold. Such lazy complacency is almost enough to make you see red.
  20. This full-clip misfire reminds us of a valuable lesson: Not even talent, tastefully dressed tough guys and a metropolitan backdrop dripping with after-hours menace can compensate for a complete lack of momentum or drama.
  21. Subversive elements or not, this is essentially little more than a TV soap opera spiced with hot-button topics (gender issues, clandestine gay trysts), and the combo of TV melodramatics and mumblecore-ish aesthetics eventually wears out its welcome.
    • 23 Metascore
    • 40 Critic Score
    The film is merely a series of random celebrity cameos and shameless product placements. (In one case, both-thank you, Jared from Subway!) But there are a few moments of inspired absurdity, mostly provided by a surprisingly energetic Al Pacino.
  22. The trek to get there is sluggish at best, torturous at worst. March away, penguins. Far away.
  23. Whether sleuthing or smacking around thugs, Sisley makes a dashing hero, but this glossy action flick is heavy on tedious convolutions and depressingly light on character depth, suspense or political-economic intrigue.
  24. The movie meanders like its dissatisfied, part-time pothead protagonist, not wisely but too well.
  25. Simon Curtis's watchably third-rate biopic doesn't try to sort out truth from fabrication; that would be like "teaching Urdu to a badger," as the short-tempered Olivier - played by a whole-hog-slicing Branagh - might say. Better to print the legend and be done with it.

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