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 Some Like It Hot
Lowest review score: 0 Vampires Suck
Score distribution:
3031 movie reviews
  1. It’s a waste, for sure — of talent and your time.
  2. A favorite at this year's SXSW, Kyle Smith's real-time look at curdled relationships is a modest take on indie psychodramatics - and little else.
  3. A Euro gloss on "Pretty Woman" suddenly turns into "Occupy Gaul."
    • 52 Metascore
    • 20 Critic Score
    From its flash-forward framing sequence to its glossy black and white images, the film emulates "Raging Bull" in nearly every particular, while failing to capture even a sliver of that tortured-soul sports-movie's insight or visceral power.
  4. Medina is simply content to let the film’s sub-Jarmusch vignettes slow-fizzle to their finishes.
  5. This is a movie too enamored of its own tawdriness, turning every violent act and violation into gratuitously salacious grindhouse set pieces.
  6. As billion-dollar Hollywood franchises go, this is one of the drawn-out dumbest. The stake through the heart comes not a moment too soon.
  7. I can’t fault Ridley Scott for wanting to stage a version of this saga, just as I can’t ignore the fact that my dad tells the same tale every spring, but much more engagingly, in half the time and drunk on Manischewitz.
    • 52 Metascore
    • 40 Critic Score
    If director Stephen Fung's frenetic visual style is the Red Bull in this cinematic cocktail, then the dozy plotting is the vodka - leaving you feeling momentarily excited but ultimately narcotized.
    • 52 Metascore
    • 40 Critic Score
    Granted, there’s something charming here — Ping Pong Summer itself feels like an underdog — and there are retro touches that children of the ’80s will smile at (remember smelling the liner notes of cassettes?). But ultimately, those are too few and far between.
  8. Chu does his best to humanize his subject, showing him surrounded by devoted friends and family, and wringing much drama from an on-the-road vocal-cord strain.
  9. The oddest thing about the movie - and perhaps the asset that will tip it over into the plus column for you - is that it's a bona fide scuzz-Western.
  10. 300
    A fun-sapped maelstrom without meaning, 300 simply pummels you with endless loops of battle-porn. While you couldn’t classify the movie as entertainment, it might have a long, prosperous future as a Clockwork Orange–style Ludovico Technique.
  11. Don't go in expecting scares so much as laughs. Scream 4 is a better "Scary Movie" than any of the "Scary Movies" ever were, from its inventively gut-busting kills (watch out for that mail slot!) to the unintentionally humorous sight of the three leads acting as if they're in three separate films.
  12. Without larger-than-life drama or a steady stream of historical detail, it's merely a gargantuan production that's been lavished on a story hardly worth trumpeting.
  13. There are no memorable action scenes—the closest we get is a virtual rerun of the time-freeze sequence from the previous movie. And the script is just nonsense, comprised entirely of sarcastic asides, portentous gobbledygook ("The dawn of a new age will rise!" cries Isaac) and insider references that only the faithful will appreciate. Unless that’s you, it’s best to steer clear.
  14. Christopher Felver, while an inspired photographer, is not the director for the job; he dutifully ticks off Ferlinghetti’s major achievements — such as the founding of North Beach’s literary mecca, City Lights — yet never imbues his life with anything more than lefty zeal.
  15. Clooney occasionally shows a surer hand: He gets great work from Downton Abbey’s Bonneville — notably in an emotionally charged scene revolving around Michelangelo’s Madonna of Bruges — and has a fine monologue himself, in which Stokes dresses down a high-ranking German commander (a moving encapsulation of the American spirit at its best).
  16. What really makes Rudderless a full-blown affront is a late-breaking narrative revelation (no spoilers here) that’s meant to add resonant emotional depth, but instead comes off as jaw-droppingly repugnant. That’s appropriate, though, for a movie with no sense of direction.
  17. The predictability is crushing, and with movies like "Crazy Heart" and Sofia Coppola's distinctly personal "Somewhere" so close in the rearview, David M. Rosenthal's estrangement drama feels especially soft.
  18. Good actors like Vera Farmiga and Brendan Gleeson show up to bust balls and bark expository dialogue with check-in-the-bank-yet? proficiency. Add in a couple of dully pro forma narrative twists to keep you awake in between shots of distractingly exotic South African scenery, and you've got a first-quarter Hollywood release par excellence. Meaning not.
  19. Schemel is a major rock & roll survivor; Hit So Hard is a minor rockumentary at best, as well as a seriously missed opportunity.
  20. Defined by "Three’s Company"–grade humor, this attempt at male-anxiety cringe-comedy is little more than a sitcom writ large that — courtesy of several awkward transitional fades to black — already feels constructed to accommodate commercial breaks.
  21. The film will do until "Fifty Shades of Grey" turns up. The more you think about Labor Day, the more calculating it gets.
  22. Fashioning "The Great Dictator" and "Inglourious Basterds" into a cross joint and then lighting it from both ends, Goldberg and Rogen’s second directorial effort follows the hysterically violent misadventures of idiotic talk-show host Dave Skylark (James Franco, hamming it up) and his underachieving producer, Aaron (Rogen).
  23. Unlike the clothes, though, the film is shapeless, running at its subject from all directions but never quite reaching its core.
  24. Although convincing as athletes, neither Miller belongs on a movie screen; personal parable or not, this feels like a too-familiar trip around the bases.
  25. As with many young-adult book-to-film series, Beautiful Creatures plays like an illustrated compendium of scenes from the novel, as opposed to a finely tuned narrative all its own.
  26. The film works to inform as well as to preserve an air of mystery around Bernstein, an apt approach that occasionally slips into the willfully opaque. By all accounts, this secretly important man was tough to live with, but not too hard to love or admire.
    • 51 Metascore
    • 60 Critic Score
    The movie’s ideas run out quickly, but De Niro is easygoing, and The Intern is indulgent good fun. Just don’t go in expecting nutrition.

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