Time Out New York's Scores

  • Movies
For 2,608 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 The Autobiography of Nicolae Ceausescu
Lowest review score: 0 Vampires Suck
Score distribution:
2,608 movie reviews
    • 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.
  1. It’s a shame that Toe to Toe adheres so stridently to Indiewood clichés.
  2. 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.
  3. Like the big-budget thriller “Green Zone,” which is also opening this week, Kristian Fraga’s documentary catapults us back to the chaos of Iraq circa 2003. But instead of action figure Matt Damon, we get garish, staccato images and hard-bitten voiceover from First Lieutenant Mike Scotti.
    • 67 Metascore
    • 40 Critic Score
    Children of Invention seems furiously scribbled in shorthand, undermining what it has to offer in contemporary resonance.
  4. A tedious example of speculative fiction.
    • 56 Metascore
    • 40 Critic Score
    This wisecracking saga of tween angst largely avoids the gimmicky saccharine aftertaste that's typical of the genre.
  5. The 20-year-old Hubble Space Telescope--whose repair mission is the subject of this chronicle--turns out to be a bit of a stage hog, and audiences expecting a blissout of swirling galaxies will wonder why so much time is spent on astronauts sweating over screws and bolts.
  6. Never finds a common ground between the fantastic and the heartfelt. Such unintegrated flip-flopping between a muted character study and a horror flick relying on cheap scare tactics leaves you feeling mildly schizophrenic
    • 42 Metascore
    • 40 Critic Score
    Earnest to a fault, this tale of vengeance and retribution strives for Faulknerian pathos, but never rises above amateur theatrics.
  7. Maybe Douglas Sirk could have made something profound out of the pseudo-ennobling horsepucky. As is, The Last Song is what the crinkle-nosed Southern belle in all of us would resoundingly deem “Trash! Trash! Trash!”
  8. Given that Sarandon played this same role so sublimely before in "Moonlight Mile," her devolution into theatrical rending of garments and gnashing of teeth is particularly disappointing, but no one--not Brosnan’s shell-shocked–by-numbers patriarch nor Mulligan’s wide-eyed waif--comes out of this steroidal pity party unscathed.
  9. A dumb comedy out to prove its genre-defying smarts--the title is both an onscreen-supported reference to Walt Whitman and a wacky-tobaccy allusion--Leaves of Grass is a mostly mirthless affair; not even the sight of Edward Norton portraying twins tickles as it should.
  10. Overall, the movie has the bantamweight feel of a really long DVD extra: Little details of the director’s ancestral stomping grounds are appealing, but don’t jell into something satisfying.
    • 43 Metascore
    • 40 Critic Score
    Burdened with a bevy of unlikely plot twists, this is less a movie sequel than the latest installment in a big-screen soap opera.
  11. Even if you can miraculously avoid comparing this take on rock & roll record maker Leonard Chess (Nivola) to 2008’s similar Cadillac Records, Jerry Zaks’s lukewarm biopic still won’t get your fingers snapping; it’d be a runt in any litter.
  12. An eerie resurrection regains some good will, but we'll have to wait for Neshat to catch up with the art of storytelling.
  13. These guys belong in the avant-odd pantheon. They also deserve a stronger, more penetrating tribute.
  14. So it’s no surprise that, even with longtime screenwriter Ruth Prawer Jhabvala watching his back, the director never finds his groove with Peter Cameron’s tale.
  15. Harry’s haunted by his own identity crisis, but that breakdown translates into nothing but smeary, slo-mo flashbacks. Forget about insight into the macho mind-set.
    • 55 Metascore
    • 40 Critic Score
    The spot-on cast almost holds the movie together, but whatever potential this timely premise has is wasted on reworking the same gag about overconsumption.
  16. Pornography: A Thriller may have a few interesting things to say about porn. But thrills? Not so much.
  17. The Losers is the ultimate example, scraped from the bottom of the comic-book barrel, where writer Andy Diggle’s figurine-like characters first had their exploits in an exciting War on Terror.
    • 60 Metascore
    • 40 Critic Score
    The sauciest of anecdotes are illustrated with faded vintage photos, all tiresomely filtered through the Ken Burns roving-cam effect and making for one chaste and unsexy cultural portrait--the biggest tease of them all.
  18. That we never actually meet his Mr. Hyde is an inventive twist, but all the labored explanations (and tedious psychology) that follow the bad behavior and bloodshed make for a serious buzzkill.
  19. Fine performers can’t salvage a toxically precious script, though Stone (Zombieland), with her disarming poise, makes a go of it.
    • tbd Metascore
    • 40 Critic Score
    The film fails to latch on to a consistent tone, shifting between scenes of prison life and the struggles of the family matriarch left alone--both of which are a bit too polished--turning a moving story into something emotionally lifeless
  20. Less a nightmare than a case of bad indigestion, this ’80s horror reboot is a primer in the humorless recycling of potent pop culture.

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