Time Out New York's Scores

  • Movies
For 2,642 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Look of Silence
Lowest review score: 0 Vampires Suck
Score distribution:
2,642 movie reviews
  1. Working with uneven material, the illustrious cast is too often stranded in a realm of tony, high-art camp.
  2. Dramatically handcuffed and smothered in overbearing mood music, this lightweight New York crime thriller is desperate to look and feel gritty; the cast, meanwhile, deliver vein-popping diatribes between clenched teeth and weep openly in a desperate ploy to earn gravitas.
  3. The film is set in a celeb-owned Miami restaurant and many of the gags--exploding entrees, the swallowing of a diamond ring, on-the-job drunkenness--feel like leftovers.
  4. Once you get over the droll joke of seeing an equine Web surfer wearing a bathrobe and sipping his morning coffee, the movie settles into a shrill groove from which it never escapes.
  5. Let’s not dance around it: Nine--is a dud.
  6. Vallée and his lead get high marks for kittenish revisionism. In all other respects, however, this movie is indistinguishable from every other throne-and-scepter biopic to hit the screen.
  7. Shockingly dull.
  8. To her credit, Howard’s performance as a class-obsessed Southerner is decent enough to keep things from completely devolving to community-college level. But such weak work needs strong hands all around to guide it, and one pair isn’t enough.
    • 66 Metascore
    • 40 Critic Score
    The film spends too much time following a Christian pilgrimage to the Holy Land, limiting most of the substantive material to the last act.
  9. Credit Broderick and the cast for putting across the fey Indiewood bullcrap with committed, nearly convincing effort.
  10. The cast to die for is almost entirely wasted in this machismo-marinated slab of Brit-crime nastiness.
  11. A grimy kitchen-sink melodrama with an Ajax cleanser script: The muck is all surface, the turmoil cleanly shallow and contrived, though never less than gripping.
  12. There are sparks here that suggest the smarter movie a more scientifically minded director--say, David Cronenberg--might have made.
  13. Sadly, “Get out of my lab!” is not the new “Get off my plane!”
  14. Medina is simply content to let the film’s sub-Jarmusch vignettes slow-fizzle to their finishes.
    • 49 Metascore
    • 40 Critic Score
    If you’re not already a member of the “Johnny’s Angels” fan club, you might wonder why other equally outrageous athletes weren’t bestowed with their own cinematic tributes.
    • 32 Metascore
    • 40 Critic Score
    Though the credits include an impressive roster of names, this low-stakes poker hand feels like an undiscovered relic from the early ’90s, and that’s not a good thing.
    • 43 Metascore
    • 40 Critic Score
    "Chocolat" director Lasse Hallström’s tastefully old-fashioned melodrama has exactly one objective: yanking gallons of cathartic tears out of your face by any means necessary.
  15. Better to defrost "Alive" or "The Edge" from the video icebox.
    • 56 Metascore
    • 40 Critic Score
    Too on-the-nose to resonate past the end credits, this slickly produced film still deserves praise for being progressive-minded, as Tarek isn’t a hateful man but a product of his circumstances who is only trying to help his family. It’s frustrating to see such a humane movie suffer from oversimplification.
    • 47 Metascore
    • 40 Critic Score
    Mirthless, episodic fantasy saga.
  16. Sontag’s true talent was for the printed word; behind the camera, her limitations come more harshly to light. Upon Promised Land’s release, she recounted her experiences in Vogue--an all-too-appropriate forum since her film is mostly chic posturing.
  17. You can’t deny the inspirational qualities of the story or Parker’s screen presence, any more than you could accuse the film of subtlety or of masking its conspicuous pro-Christian agenda.
  18. Such passé testosterone worship might have been passable if the filmmaking weren’t so amateurish--every emotional exchange is accompanied by insipid, high-volume pop songs--and the film’s self-satisfied chest-thumping didn’t extend to its creator as well.
    • 52 Metascore
    • 40 Critic Score
    The dialogue is blandly speechified and the film’s pro-Taiwan agenda seems to have taken precedence over our enjoyment.
    • 74 Metascore
    • 40 Critic Score
    Instead of pushing deeper into any psychological dilemmas, this dirty-laundry doc gets lost in a sensationalistic flurry driven by a serious emotional unraveling.
  19. It’s a shame that Toe to Toe adheres so stridently to Indiewood clichés.
  20. Even though the Bello-Hurt thread is unconvincingly brought up to date at the end, this inside-out movie gets good mileage out of letting us watch characters watch each other.
    • 43 Metascore
    • 40 Critic Score
    Antoine Fuqua’s second-rate retread of his own "Training Day" is a bloated, multithread drama concerning three burnt-out cops at the end of their seemingly unconnected ropes.
    • 34 Metascore
    • 40 Critic Score
    Stolen’s major flaws result from writer Glenn Taranto’s screenplay, which keeps piling on plot twists at the expense of anything resembling character development.

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