Time Out New York's Scores

  • Movies
For 2,804 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 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 127 Hours
Lowest review score: 0 Vampires Suck
Score distribution:
2804 movie reviews
  1. The film's mood is so somber and minimal, it might be confused for deep. Had the plot (meager and one-last-job-predictable) zipped along, that wouldn't feel like such a problem.
  2. As a procedural study, Night Moves is undeniably effective: The buildup is slow, painstaking and intense, the fallout inevitable but still shocking...But the soul is somehow missing.
  3. With unexpected supernatural restraint, the movie approaches a religious parable; am I being unfair in wishing it had a touch more apocalyptic hysteria to it?
    • 51 Metascore
    • 60 Critic Score
    The highlight is a bruising pas de deux between Statham and direct-to-video star Scott Adkins, a sequence that channels yesteryear's testosteronized cinema instead of exhuming it. You can only hope the inevitable third entry will use that as a model.
    • 65 Metascore
    • 60 Critic Score
    Essentially a queer-cabaret-cum-performance-art-spectacle, the Croquettes went from local phenomenon to international sensation, opening up sexual mores in then-repressive Brazil and wowing Paris before their AIDS-fueled downfall.
    • 49 Metascore
    • 60 Critic Score
    One of the main explanations for our country’s inner-city high-school dropout rate is that public education doesn’t teach skills applicable to life outside the classroom. Director Mary Mazzio’s film, part documentary and part public-service announcement, offers a plausible alternative, which may prompt a discussion of totally revamping standard curriculum.
  4. More shakily, Payne’s obvious pathology isn’t probed as deeply as it should be. A jaunty musical score smooths over what might have been a tougher profile about an expert liar, to self included.
  5. There's a more courageous profile waiting to be made by someone who understands the man better.
  6. 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.
  7. Would that the climax lived up to the tension-filled first two thirds. Let’s just say that Non-Stop reaches for some pointed post-9/11 political commentary that almost entirely exceeds its grasp. Total brainlessness, in this case, would have been a virtue.
  8. Love Crime soon plummets into a flashback-laden mess, a shame since it was marginally stronger as a psychosexual game of dominance.
  9. That the filmmaker at least makes a concerted effort to tweak what in most hands would be an offensively whitewashed dark-continent parable is worth some measure of praise.
  10. This is the kind of movie in which it's considered the zenith of meta-wit to have a slumming Robert De Niro (as Machete's racist politico nemesis) drive a taxi.
  11. It's hard to hate a movie that affectionately references the oeuvre of Kathryn Bigelow (both The Hurt Locker and Point Break!) and uses a whiny Third Eye Blind ballad as an acidic punch line.
    • 49 Metascore
    • 60 Critic Score
    Broken City never asks its gumshoe to repent for the blood on his own hands, and the anticorruption - but pro-vigilantism - ethics here are especially murky.
  12. The esteemed director, Ken Loach, isn’t really a fantasist--and it shows.
  13. Damn! clearly knows a thing or two about fameballs, but it leaves the rest of the heavy lifting to the viewer.
  14. While that mood is ultimately a bit too monotonous to be completely persuasive, a strong cast convincingly captures the many ways in which adulthood proves far more complicated than what's imagined at 18.
  15. The funny thing? It all works reasonably well, especially if you have a yen for the urbane register of city kids and their amazingly cool parents.
  16. The film’s tendency to wax sentimental occasionally undermines its authority, but you won’t find better behind-the-scenes looks at the era’s mouse-eared power struggles or at the making of modern Disney classics.
  17. There's too much going on here - of a winning, thoughtful nature - to dismiss Josh Radnor's back-to-college romance as the nostalgia bath it mainly is.
    • 76 Metascore
    • 60 Critic Score
    While the frequent recourse to talking heads burdens the documentary with a choppy cadence, directors John Haptas and Kristine Samuelson manage to offer moments of great humor.
  18. Too many digital effects ruin the spell of a tactile world of evil objects scheming your demise. But even a mediocre FD is better than more Jigsaw.
  19. The ugly Americanism gets piled on thick - racists, dickwads and ignoramuses, oh my! - but there's a melancholy to this indie's cross-cultural explorations and communication breakdowns that compensates for the broader swipes.
  20. The ideologies underlying Andersson’s oft-astonishing succession of extreme wide-angle, vanishing-point tableaux are a decidedly acquired taste.
  21. The film never finds the right mix of the epic and the intimate - the personal as seen through the 20th century's Euro-geopolitical turmoil - that it aims for.
  22. Tuschi leans too far into an admiring position, and you thirst for some commonsense critique. It's all a bit rich.
  23. Al Pacino’s done so much Acting over the last 25 years (hoo-ah), it’s disquieting to see him digging deep again—often with subtlety—into a rich role with hidden depths.
  24. Director Sam Garbarski’s focus occasionally skews narrow, but he does evoke the anxiety of reconciling a strict faith with secular times.
  25. As brought to life in the stentorian tones of Ben Kingsley, the curator comes off like a driven visionary, but his actual efforts aren't dramatized enough. The paintings speak more articulately: doomy, dank colors and oppressive shapes.

Top Trailers