Time Out New York's Scores

  • Movies
For 2,587 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 Blue Beard
Lowest review score: 0 Vampires Suck
Score distribution:
2,587 movie reviews
  1. For every camp element like Javier Bardem’s rainbow-vomit outfits or Diaz’s onanistic tryst with a car windshield, there are a dozen poetic-pulp moments that channel McCarthy’s pitiless view of the world to a tee.
  2. The new drama, best viewed as a church movie, is a return to the kind of corner-chat indie cinema Lee revolutionized, with an emphasis on a towering performance by The Wire's Clarke Peters as a local bishop inflamed with the Word.
  3. In our chatty "Game of Thrones" moment, you'll thirst for a sidekick: a sly dwarf, a wisecracking female warrior, a huggable wolf, anything. Solomon Kane has none of these, and even heavyweight speechifiers like Max von Sydow and the late Pete Postlethwaite (that's how old the film is) have little to gnaw on.
    • 48 Metascore
    • 20 Critic Score
    Displaying a weird lack of memorable or endearing characters, this animated effort feels more like a direct-to-video job from the 1990s than a fully fledged John Lasseter–exec-produced theatrical release.
  4. Director Peter Webber, who once mined social unease from the painterly "Girl with a Pearl Earring," is out of his depth; this is a movie in desperate need of a no-nonsense Howard Hawks.
  5. This sex thriller is trapped in a tepid zone between quality trash and pretentious psychodrama.
  6. You can probably skip this one and still sleep soundly at night.
  7. Lockout is the kind of manly nonsense no one wants to make anymore.
  8. It’s a 60-minute documentary that feels like days of watching paint dry.
  9. It's pure comic-book malarkey, adapted from a graphic novel by French artist Matz. But the skeletal plot affords Hill the opportunity to go atmospherically hog wild.
  10. You get the "girl," but little else; even as a tribute to one woman's determination, this semibiopic screams botched opportunity
  11. A film that could have been memorably haunting is, sadly, all too forgettable
  12. Cassavetes adopts a grammar that occasionally slides into parody but mostly comes across as committed style. Kiss of the Damned contributes little new to the genre save a taste for alluringly tactile sex scenes and an avoidance of gore.
  13. Is Joaquin Phoenix putting us on? After watching the terrifying, near-brilliant exposé I'm Still Here, in which the Oscar nominee's public and private unraveling becomes a sick joke, the question doesn't matter.
  14. That all sours by the time of the film's "shocking" climax, which is so hilariously telegraphed, it plays like a Benny Hill gag rather than a tear-duct stoker.
  15. Credit Broderick and the cast for putting across the fey Indiewood bullcrap with committed, nearly convincing effort.
    • 48 Metascore
    • 40 Critic Score
    Oddly enough, the film's best pro-tech argument is its look; shot on a consumer-grade digital camera, it's a testament to how elegantly framed low-budget projects can look these days.
  16. Writer-director Nick Tomnay needlessly convolutes what should have been a taut, focused two-hander with flashbacks, alternate realities and too-clever-by-half reversals.
  17. Admission’s comedy has walls built around it; director Paul Weitz (About a Boy), normally a softener of harsh edges, might have been stymied by Fey’s snappy persona.
  18. Green was meant for quick-witted comedy. Unfortunately, she's becoming a mainstay of painfully sincere slogs.
  19. But while you can’t fault this labor of love’s conception, you can take issue with its leaden execution.
    • 48 Metascore
    • 20 Critic Score
    The director/subject uses a confessional tone, showing herself nude in the tub and slathering the movie in emotive voiceover. But her self-regard never matures into self-examination, and the only time she steps outside of her own perspective is to moan about how others have it easier.
    • 48 Metascore
    • 40 Critic Score
    As an exercise in grief, Orser’s drama is affecting, exhausting and something of a shortcut.
  20. Fans of the gritty, era-defining precinct drama will bristle at how the program's realism has been replaced by a generic Tinseltown U.K. slickness. But regardless of whether you’re a longtime devotee or not, you’ll be left saying, “This is The Sweeney? I’ve been rooked.”
  21. Though Lemmons’s parable-like intentions are clear, almost every beat of Langston’s tale, with its absent father figures and heated gun-pointing melodrama, rings false — hardly a fitting contemporary complement to the Greatest Story Ever Told.
    • 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.
  22. The movie adaptation's version of religion may be more nuanced than the usual Left Behind fire-and-brimstone sermonizing you find in much contemporary pro-Christian cinema, but it still leaves behind a sulfuric stink.
    • 48 Metascore
    • 40 Critic Score
    Somebody give Werner Herzog an IMAX camera already, and let's see what a real filmmaker does with the format.
    • 48 Metascore
    • 40 Critic Score
    Timothy is apparently nothing more than practice for when a real child comes along - at which point the movie's cloying cotton-candy flavor develops a seriously astringent aftertaste.
    • 47 Metascore
    • 40 Critic Score
    Mirthless, episodic fantasy saga.

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