Time Out New York's Scores

  • Movies
For 2,730 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 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Missing Picture
Lowest review score: 0 Vampires Suck
Score distribution:
2,730 movie reviews
  1. The trek to get there is sluggish at best, torturous at worst. March away, penguins. Far away.
  2. But you do take the film home with you - to all your own toys - and that's what decent horror is supposed to do.
  3. Remember the "Seinfeld" episode in which Jerry and Elaine try to become friends with benefits, and set up unsustainable ground rules for their new arrangement? Imagine it rewritten by the Romantic Comeditron 2000 as a profanity-laced schmaltzfest, and you've got this tone-deaf dud.
  4. The real scam was the filmmakers tricking Rebecca Hall (and a cameoing Amanda Seyfried) into participating in this blunt instrument of an indie.
  5. Old-school intrigue, informants and assassins, life-or-death pursuits in crowded places, characters who are adults and do not wear capes or pilot robots: This is pretty much what any filmgoer over the age of 13 pines for in the dog days of summer, so this courtroom melodrama/surveillance thriller should be manna.
    • 50 Metascore
    • 40 Critic Score
    Too sluggish for farce and too glib for a trenchant social satire, A.C.O.D. is several sessions short of a breakthrough.
    • 50 Metascore
    • 60 Critic Score
    But something compelling happens here that shouldn't be dismissed out of hand. Raging in Shange's still startlingly fluid verse like witches casting spells, this powerful cast (especially Jackson, Goldberg and Phylicia Rashad) reaches bravely, if sometimes clumsily, for emotional accountability.
  6. Antal and his performers’ pure B-movie esprit is undeniable.
  7. Interminable scenes of macho posturing and mock-Tarantino dialogue (including a lengthy dissection of the word fags!) mark time between a number of ineptly staged car chases that would embarrass the makers of "Cannonball Run II."
  8. All of the performances are knockouts, especially The Visitor's Richard Jenkins as a damaged Texas spiritualist who steeps the movie in intimacy.
  9. It's another episodic, shaggy-dog parade of L.A. denizens caught in moderately compromised positions.
  10. When Canet isn't dabbling in schmaltz, he's forcing text-message gags and metaphor-heavy vermin jokes down viewers' throats in a lame attempt at levity. Emotional fraudulence does indeed constitute a lie, just not a white one.
  11. There’s social satire for those who want it — don’t tell the rest of the neighborhood our daughter’s risen from the dead! — and a fine, simmering sense of apocalypse that turns this suburban community into a war zone. Still, it’s a lot of heavy lifting for what amounts to “he’s just not that into you,” mainly because you’re as ripe as a cadaver.
    • 50 Metascore
    • 60 Critic Score
    The "Pretty Woman"–style final act is fairly creepy, leaving a sour aftertaste to this otherwise sweet, if insubstantial, confection.
    • 50 Metascore
    • 80 Critic Score
    The logic wouldn’t hold up under scrutiny, but García Bogliano’s unnerving mood, complemented by grungy camerawork and a shroud of sonic chaos, provides an emotional strain that makes anything possible.
  12. Church oozes lonely-patsy schlubiness and Shue radiates crazed heat, but the movie ultimately relies too heavily on dry wackiness and goes too light on the fatalistic bleakness.
  13. What’s refreshing about Pascal-Alex Vincent’s dramatically thin but richly atmospheric feature debut is that it recognizes the essential truth of the conceit: all seminal voyages are journeys of heightened awareness, as visceral as they are emotional.
    • 50 Metascore
    • 60 Critic Score
    It’s a slickly enjoyable production (if unfocused and bloated), and his bullet-point tips are persuasive; but dude, there are better ways to humanize these issues than crying on camera.
    • 50 Metascore
    • 60 Critic Score
    As intriguing as the movie is, there's the sense that its free-associative story line has been dredged up from its maker's unconscious and recounted without filter or shape.
  14. Whether blithely comparing American prisons to retirement homes or gleefully recalling the time he chewed off his own fingers in Siberia, the moonlighting German New Wave auteur injects some much-needed black humor into what is otherwise a soporific star vehicle.
  15. Fortunately, Teegarden and McDonell make up for the hand-me-down plotting with a sweet, unaffected chemistry.
  16. Given how prominent the postcard sultriness of her backdrop is compared with the story's emotional ping-pong, all she ends up with is a kinder, chicer Adrian Lyne movie.
  17. What's surprising is that Rogen and Streisand have a genuinely complementary chemistry, feeding off each other in a way that suggests that, given a halfway decent script, the two would make a better-than-decent screen duo.
  18. There's no suspense, even as Galifianakis's bone-dry earnestness sometimes kicks the movie into a realm of stealth drama.
  19. From its opening montage of Hallmark-worthy kisses to a climactic clinch under the Tuscan sun, Letters to Juliet celebrates synthetic sentiment.
  20. Even on its own limited terms, the jokes are sub–"Friday" sequel, and a last-act grab for "Boyz n the Hood" pathos is seriously reaching.
  21. Director Maya Kenig's film never decides whether it wants to be a social satire, a familial drama or a parable about Israeli life during perpetual wartime; that it neither picks a route nor cohesively combines any of those strands doesn't make a fairly generic father-daughter story any more colorful.
  22. It could have been so much worse; we wish it was a lot better.
  23. Only Leo, always a dependable supporting actor, turns her character into something resembling a three-dimensional person. Watching her tentatively reconnect with her maternal instincts is a welcome surprise. Everything else here just feels like another descent into mediocre Amerindie miserablism.
  24. Barkin may be the equal of Gena Rowlands or Liv Ullmann. Her director's clumsiness, however, suggests he isn't fit to hold Cassavetes's or Bergman's old camera cases.

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