Time Out New York's Scores

  • Movies
For 2,561 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 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 A Man Escaped (1956)
Lowest review score: 0 Vampires Suck
Score distribution:
2,561 movie reviews
    • 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.
  1. Fans of the gritty, era-defining precinct drama will bristle at how the program's realism has been replaced by a generic Tinseltown U.K. slickness.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.”
    • 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.
  2. 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.
  3. So it's no surprise that what starts out as a beer-soaked cringe comedy about stunted masculinity ends up deep in the woods with noise-loving Japanese tourists and exploding craniums - or that such detours into psychotronic oddity for its own sake can make even a 75-minute running time feel like an eternity.
  4. Jessica Lange, as rare as a unicorn these days, seizes on the role of a grieving mother with two taloned hands. If there are any tremors of shame to be felt here, they emanate from her.
  5. Some ventriloquists win the fame game, while some remain stuck in the D-list dugout. The fact that Dumbstruck doesn't even attempt to differentiate these camps makes the film feel as if it's just talking out of the side of its mouth.
    • 47 Metascore
    • 60 Critic Score
    Bratt’s performance suggests enough subcutaneous rage to give the proceedings an edge, even when the sluggish narrative takes the slow-cruise ethos of its low-rider culture far too literally at times.
  6. An illuminating profile but a sloppy snapshot of the immigrant experience.
  7. "Southland Tales" was a soporific mess, and while The Box (based on material by novelist Richard Matheson) is superior by a certain margin, Kelly derails his newfound discipline with the usual shimmering portals and hazy notions of apocalyptic sacrifice.
  8. As in the first film, the seasoned-pro cast provides the few fleeting pleasures to be found.
  9. The movie has a centerfold sheen to it--and some lesbianic soft-core flirtation to match--as its plot dives deeply into "Twilight"-esque heavy-melo meltdown in the last act. Cody throws one too many losses at Needy; the screenwriter loses her satiric way about halfway through. But for a while, this has real fangs.
  10. The movie works-to the extent that it does-because of its sharply un-PC script (credited to Lee Eisenberg and Gene Stupnitsky) that sometimes feels like a Hollywood rewrite of "Election."
  11. Numbingly simplistic in concept and execution.
  12. The divas rule in this glossy musical.
  13. Gus Van Sant directs his players just shy of mush; he's a filmmaker capable of brilliant dares (Milk, Paranoid Park) and shocking whiffs (Finding Forrester, the pointless remake of Psycho). This one's kind of in the middle.
  14. We certainly need all the ecological jeremiads we can get. But must they be so numbingly pedantic?
  15. The fact that director Darragh Byrne has laden things with a Celtic Whimsy 101 score and a sketched outline of a script makes it even tougher for Meaney to lift this film out of its social-drama rut.
    • 47 Metascore
    • 80 Critic Score
    Roberta Torre’s debut takes true incidents from the Mafia wars that plagued Palermo in the late ’80s and kicks them into a deliriously gaudy farce.
  16. They've given their star one rotten peach of a role, and Depardieu makes the most of it. Because of him, such surreal Gallic scuzziness has rarely seemed so sweetly tender.
  17. It still works its way under your skin and, by the time the highly disturbed Frank’s casualties come back to haunt him en masse, cuts sanguinely to the heart.
  18. Only jackanapes and jackasses would deny that the experience of war can cause psychic damage, but does that mean we have to sit through such a schematic, dogmatic melodrama about the subject?
  19. The new film sometimes feels too snazzy in its jittery cinematography, but the stunts make it through the budget upgrade intact.
  20. While Shapiro does a fine job of emulating kink classics like "Blow Out," his film lacks one element that De Palma wouldn't have been caught dead without: a sense of humor.
  21. All that's left is to enjoy the ravishing visuals, which range from gorgeously dusky scenes of semidarkness to the sort of smeary neon palettes that Wong Kar-wai has virtually patented.
  22. 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.

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