Time Out New York's Scores

  • Movies
For 3,031 reviews, this publication has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% lower than the average critic
On average, this publication grades 6.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Sightseers
Lowest review score: 0 Vampires Suck
Score distribution:
3031 movie reviews
  1. Christopher Isherwood’s seminal queer novel deserves a film adaptation that captures both its sense of place and its activist spirit. Cowriter-director Tom Ford settles for the glossy ephemera of a Vanity Fair cover spread.
    • 76 Metascore
    • 20 Critic Score
    Even as the subjects detail the processes of grieving, healing and moving on, Whitaker continually strikes a tone of reverent mawkishness, further contributing to the notion that 9/11's legacy continues to be one of easy, knee-jerk sentiment rather than wider understanding.
    • 69 Metascore
    • 20 Critic Score
    Everything is tainted by a sneering sense of superiority. It’s like washing down Christmas dinner with rancid eggnog.
  2. The public appetite for high-school high jinks may be limitless, but the pretentious camerawork and empty ideas of this feature-length mope yield little pleasure or insight.
  3. The whole movie aches from tired blood.
  4. I'll respect the studio's wishes to abbreviate all plot description. God knows, they're marketing it like the second coming of "The Crying Game," though the revelations that await Nev are only shocking if you believe P.T. Barnum was really in possession of a genuine Fiji mermaid.
  5. Technically cruddy and tiresome in its we’ve-seen-a-lot-of-movies dialogue.
  6. The "bumpkins are people too" message will certainly please the Appalachian Anti-Defamation League; midnight-movie fans, however, will recognize that this mess misses the mark by a country mile.
  7. You can practically taste the grime in Jorge Michel Grau's art-house horror show-the film looks like it's been slathered with gooey discards from a backyard barbecue.
  8. A ridiculously infantile film, one that flatters itself by intimating a deeper comment about suppressed masculinity or romantic passivity.
  9. It’s a film that’s about as funny and/or scary as a lump of sod.
  10. Puiu offers zero insight into his character; only suckers will find the pose artful or nourishing. Skip it.
  11. By the end of Pray’s skin-deep love letter, only one sweeping reaction seems appropriate: “A pox on all your houses.”
  12. The funny thing about all these sub-"Matrix" shenanigans is that they’re genuinely meant to stoke thought and reflection. Frankly, though, few movies have left me feeling as shorn of gray matter.
  13. As is, this semi-improvised feature comes off as a willfully vague exercise that, like its dimwit protagonist, presumes that profundity and enlightenment will emerge from the morass eventually. Er, maybe - or maybe not. Kinda like "Signs;" only much, much worse.
  14. Schwimmer is so committed to telling grim truths about modern living (whither goes humanity in the age of Twitter and sexting?!?) that he abandons the film's tantalizing slide into B-movie exploitation.
  15. Berg may be adhering to the basic facts, but his movie’s childish machismo is a disgrace to all involved.
  16. After decades of endless policy debates, you’d think fixing America’s schools would be a complex endeavor. But apparently not--at least according to this tunnel-vision editorial.
  17. We've come to expect diminishing returns from the once-promising Mexican director who then gave the world "Babel," but the combination of wallowing humanistic-cinema overkill and outright ridiculousness he lays out here represents a new low. Biutiful is not a tragedy. It's a straight-up travesty.
  18. Dropping on top of the heap is Lucky McKee's barely competent domestic thriller, bound to make you groan more than think.
    • 58 Metascore
    • 20 Critic Score
    (Untitled)’s onslaught of self-indulgent bohos and art-vs.-commerce clichés are as ersatz as their objects of scorn.
  19. Berger’s script is little more than a series of contrived comic vignettes that prevent the actors from creating believable characters, forcing them to contort to fit the low-rent farce.
  20. Kari Skogland’s flashy yet dead-on-arrival drama turns Belfast’s backstreet battlefields into music-video backgrounds.
  21. Michael Goldbach's pretentious take on identity development is woefully lacking in either subversive humor or genuine pathos; the overwrought end-of-the-world backdrop of a rampaging serial killer and a toxic industrial fire only poisons the concoction further.
  22. The Equalizer is a stone-dumb movie.
  23. This pubescent navel-gazer has only its star Holland (Brian De Palma’s stepdaughter) to recommend it, not for her acting but only for her undeniable corn-fed–Emmanuelle Béart looks.
  24. Kastner’s history is simplistic, his pacing is glacial and his film is laboriously constructed around a campy fictional trio of caricatured gay-black-girl “masterminds” planning the “revolution,” thumbing through a “manifesto” and sprinkling glitter ritualistically on a mirror ball.
  25. What really hurts is seeing Jamie Travis's name attached; for those of us who love his extraordinary "Patterns" trilogy, watching the talented Toronto filmmaker add his characterically kitschy touch to such a witless, faux-edgy movie can only be described as a Travis-ty.
  26. The laughs, meanwhile, are delivered by cross-dressing Perry’s sassy grandma Madea, whose wild threats of violence to children and adults alike are the only things that sporadically lighten up this narratively and grammatically dim redemption pap.
  27. Let your mind wander during this painfully generic teen-sex dramedy (trust us, it will), and there might be emotions worse than frustration in store.

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