Time Out New York's Scores

  • Movies
For 2,618 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 October Country
Lowest review score: 0 Vampires Suck
Score distribution:
2,618 movie reviews
  1. No matter how sensitive the orchestral-string score gets, the film can't locate the bone-deep sense of tragedy of Leslie Schwartz's novel - it just keeps belching out empty, grief-stricken histrionics devoid of insight.
  2. Zhang's mixture of unsparing violence, mawkish sentimentality and garish flourishes creates one uncomfortable aesthetic.
    • 18 Metascore
    • 40 Critic Score
    Whatever possessed Bell & Co. to turn a slow-burning creepfest into a frenzied freak show of multiple exorcisms (including one in a moving car), the devil only knows.
  3. Innocence is lost - as well as 90 minutes of your precious, precious time.
  4. Unintentionally true to its title, The Divide first goes for a similar bleakness (it barely registers as entertainment), then lurches into a rousing, vengeful finale; both sides of the equation add up to less than zero.
  5. A sense of the man himself seems absent in Fábio Barreto's portrait, however, and other than a rally scene with prescient Occupy Wall Street overtones, you're mostly left with facts, dates and iconic poses.
  6. The movie amounts to little more than Marky Mark's South American Vacation.
  7. There's shockingly little thrill in watching Carano bounce off walls and pummel antagonists.
  8. So narratively old-fashioned it creaks.
  9. A huge hit in its native country, Hun Jang's epic doesn't lack for spectacle or incident: In addition to its war-what-is-it-good-for? moralizing, it also piles on bloody battle scenes, subplots involving a sniper and a supply chest, and a nihilistic last-minute twist. What you don't get is the sense that this pumped-up combat-fatigue chronicle is pandering-or, for that matter, particularly original.
  10. A better movie would have explored Foster's way-of-the-future objectives with more beyond-the-hype insight and less Zen-master bullshit.
    • 40 Metascore
    • 40 Critic Score
    Trusting an action drone like Worthington to anchor the human drama is a fatal mistake. With him perched on that narrow slab of concrete, it's only a matter of time before the film plummets.
  11. Filmed with the somber pretentiousness of a "Babel," the movie never quite converts its premise into something grander (never mind believable). Meanwhile, the world starts to riot, yet their bed is warm. Will love save the day? Unfortunately for us, our sense of smell remains intact.
    • 37 Metascore
    • 40 Critic Score
    Riseborough's acting offers total commitment in the face of lunacy, but it's a shame she's flapping around in an egotistical film with such a terribly warped sense of purpose.
    • 65 Metascore
    • 40 Critic Score
    Given the film's inability to posit any significant objections - or, for that matter, alternatives - to the turbines, it all feels like so much petty sniping against progress.
  12. You doubt Wiseman's sense of pacing. Still, he must have had a good time shooting.
    • 61 Metascore
    • 40 Critic Score
    You'd have to possess a heart colder than the Northern tundra not to care about these poor animals working their flukes off to jerk audience tears, but emotional manipulation or not, this is still a movie about people standing around a hole waiting for something to happen.
  13. Even on its own limited, rigorous aesthetic grounds, there are far superior movies (including all of Tarr's own work). It's a sad way for the 56-year-old to go out, almost a caricature of his funereal mood and of art cinema in general.
  14. Even "Bwana Devil" showed less crassness in its attempts to wow, however, and the more this cardboard blockbuster piles on the cut-rate F/X, the less anyone - the cast, the filmmaker, you - can muster up the energy to care.
  15. Good actors like Vera Farmiga and Brendan Gleeson show up to bust balls and bark expository dialogue with check-in-the-bank-yet? proficiency. Add in a couple of dully pro forma narrative twists to keep you awake in between shots of distractingly exotic South African scenery, and you've got a first-quarter Hollywood release par excellence. Meaning not.
  16. Credit the appealingly paired McAdams and Tatum for making this Valentine's-month hokum watchable.
  17. Lise Birk Pedersen's documentary offers some compelling peeks into Russia's bureaucratic skulduggery, but her attempt to frame the situation through a young convert's coming of age never really coheres. Innocence was lost; so, apparently, was much of the insightful commentary.
  18. 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.
  19. Alas, unlike the duo's Crank films - also about a hero on the verge of explosion - Spirit of Vengeance lacks a solid gimmick to unify their transgressive gambits.
  20. Much cut-rate melodrama ensues, none of it particularly painful to watch, until a ridiculously redemptive finale negates almost all of the preceding dramatic tension and resurrects a cloying Richard Marx chestnut to boot.
  21. Like all advertisements, this scripted movie is a perfect fantasy: expertly coordinated, simplistic (the bad guys like yachts and bikini girls while our heroes have loving families) and more than a little scary.
  22. Sadly, most of the film's dull edges have to do with De Niro, who is clearly in rest-on-his-laurels mode; at his worst, he approaches radioactive, Robin Williams levels of bathos, as when Jonathan - roaring like a bush-league Lear - is banned from the shelter for bad behavior.
  23. Boy
    Boy needn't be pop-culturally fluent to be relatable; believable human characterizations would have sufficed.
  24. Unfortunately, he's retained his previous work's touristy mondo italiano! vibe, all whimsical tunes and postcard scenery, while piling on enough ogling shots of nubile young women to make Hugh Hefner feel uncomfortable.
  25. The movie's multitasking creator seems to have bitten off more then she can chew. Her friends should have advised "baby steps."

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