Time Out New York's Scores

  • Movies
For 2,701 reviews, this publication has graded:
  • 33% higher than the average critic
  • 2% same as the average critic
  • 65% lower than the average critic
On average, this publication grades 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Russian Ark
Lowest review score: 0 Vampires Suck
Score distribution:
2,701 movie reviews
  1. Overall, the movie has the bantamweight feel of a really long DVD extra: Little details of the director’s ancestral stomping grounds are appealing, but don’t jell into something satisfying.
  2. Famous fans (Rosanne Cash! Oprah!!!) attest to the book and film's greatness, but at best, this is a half-hour A&E Biography episode padded out to feature-length with forgetful trivia, frustratingly facile history lessons and far too much fawning.
  3. There’s no sense of what Wajeman is after here. A character piece should have some sense of a character’s who, what and why, right?
  4. A perfectly boring movie from Julian Schnabel - is it possible?
  5. Breillat, as always, goes her own way, but her impressionistic scenes barely cohere, even at this brief running time.
    • 65 Metascore
    • 40 Critic Score
    How Göran and his new charge bond (party boy Sven quickly splits) is the stuff of time-tested trite melodrama.
  6. Writer-director Jane Campion approaches the tale with an artiste’s respectful solemnity, but it too often comes off like "Twilight" transplanted across oceans and centuries.
    • 41 Metascore
    • 40 Critic Score
    Equal parts Hollywood meet-cute and quirky coming-of-age tale.
    • 59 Metascore
    • 40 Critic Score
    Like the myriad dangers threatening the earth, the film is simply too unwieldy, a sprawling mass of ideas that are dutifully checked off and then given only superficial explanations in lieu of insightful explorations.
    • 57 Metascore
    • 40 Critic Score
    While his film is engaging enough when covering curiosities like a funeral directors' convention, the fact that it lacks an authorial voice of its own is a dealbreaker.
  7. The characters may soar, but viewers’ spirits stay grounded.
  8. For all of Cloud Atlas's pseudorevolutionary blather about upending the "natural order," the execution couldn't be squarer.
  9. 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.
  10. You can’t deny the inspirational qualities of the story or Parker’s screen presence, any more than you could accuse the film of subtlety or of masking its conspicuous pro-Christian agenda.
  11. It also serves to undercut fine performances by Connelly and Harris, whose choices are constantly destabilized by scripted swings between comedy and drama, realism and fantasy, genuine catharsis and indie-film ornamentation. Black's overactive melodrama is more than a representation of schizophrenia; it's the embodiment of it.
  12. Atmosphere and acting can't save a script filled with easy-target irony ("Who ever heard of gettin' rich from workin' with computers?") and a plot that telegraphs every left turn miles in advance.
  13. The results make your head spin more than they make your spirits soar.
  14. 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.
  15. As Match wilts into a trite portrait of people who are at the mercy of their pasts, Belber’s menagerie of inexpressive shots leaves his film at the mercy of its own.
    • 26 Metascore
    • 40 Critic Score
    Before this star vehicle devolves into a soggy New Age sermon, Murphy's manic pantomiming offers a few faint flickers of the mad comic genius from 1987's "Raw".
  16. If What to Expect represents the best tearjerking laugh-machine that Hollywood can birth, it's probably time to get those story ideas implanted in vitro.
  17. 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.
    • 56 Metascore
    • 40 Critic Score
    Too on-the-nose to resonate past the end credits, this slickly produced film still deserves praise for being progressive-minded, as Tarek isn’t a hateful man but a product of his circumstances who is only trying to help his family. It’s frustrating to see such a humane movie suffer from oversimplification.
  18. There's nothing strictly wrong with any of this, except for the fact that even a buttoned-down period piece like "Topsy-Turvy" feels sexier.
  19. Where the book had a kernel of intellectual irony to it — words betray a nation — this drama goes shamelessly for the heart.
  20. So why does this animated kids' film fail to come together? Bursts of manic pacing steamroll over most of the wit, a little of Sandler's thick-accent shtick goes a looong way, and by the time the requisite life lessons about letting your offspring leave the nest get rolled out, the undead-on-arrival jokes are outnumbered by anemic sitcom gags.
  21. 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.
    • 54 Metascore
    • 40 Critic Score
    Why Stone also chooses to characterize those on his side as feeble-brained hippie protestors is a mystery, but in its attempts to debunk the feasibility of massive energy reduction, Pandora’s Promise at least brings some measure of rhetorical skill to its arguments.
  22. Coyle's got charisma to spare - imagine a hard-man version of Andy Serkis - but even his screen presence eventually gets smothered by the film's cartoonish version of ethnic gangsters, macho caricatures and bruised-heart-of-gold hookers. The phrase accept no substitutes has rarely seemed so applicable.
  23. 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!

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