Time Out New York's Scores

  • Movies
For 2,687 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 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Close-Up
Lowest review score: 0 Vampires Suck
Score distribution:
2,687 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. Impassioned, but wearisomely didactic, diaspora drama.
  5. Better to defrost "Alive" or "The Edge" from the video icebox.
  6. 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.
  7. 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.
  8. 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.
  9. These guys belong in the avant-odd pantheon. They also deserve a stronger, more penetrating tribute.
  10. 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.
  11. Trespass is assembly-line product through and through - unabashedly mediocre and instantly forgettable. A Joel Schumacher joint, in other words.
  12. So narratively old-fashioned it creaks.
  13. 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.
  14. 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.
  15. 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).
  16. It’s a 60-minute documentary that feels like days of watching paint dry.
  17. As the screws turn, and the double crosses begin, the film sinks under the weight of its own ridiculousness. (The ever-reliable Cranston’s thick Euro-villain accent actually turns out to be one of the least ludicrous elements.)
  18. The film thankfully doesn’t offer some pop-psychology Rosebud to explain Jobs’s drive or near-sociopathic perfectionism, yet we walk away knowing nothing about what made this revolutionary tick.
    • 40 Metascore
    • 40 Critic Score
    The fact that it's far more concerned with burnishing an overly fetishized lit movement than serving as an in-depth exploration of the hotel's inhabitants may make you want to check out early.
  19. Caan can’t seem to play up his strengths. He’s a raw talent who needs an editor for his scripts and a strong hand behind the camera guiding him. Mercy gives our guy neither.
  20. The casting is spectacularly wrong, and even on its own scant merits, writer-director Lorene Scafaria's screenplay has little insight into apocalyptic licentiousness, barring a tart line or two.
  21. 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. Centrally, the title character remains an impressive piece of propwork, and Leonetti's restraint in never animating it (à la Chucky) is the only thing worth appreciating here.

Top Trailers