Time Out New York's Scores

  • Movies
For 2,680 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 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Social Network
Lowest review score: 0 Vampires Suck
Score distribution:
2,680 movie reviews
  1. Ignore the documentary's regrettable low-rent look and that kitschy "Love, American Style" soundtrack, and just focus on how this portrait turns a work of art into a sociological flash point.
  2. Such a feature-length bludgeoning, even in the service of basic social and scientific literacy, is truly discomfiting.
  3. None of this is particularly well wrought, and only a bizarre gas mask worn by the séance leader counts as an inspired (if slightly silly) touch.
  4. While Transcendence has tons of money to spend on unpersuasive digital effects and dronelike music, it shows little interest in exploring the potentially tricky benefits of a computer-enhanced intellect; it’s not even in the enjoyable realm of starkly ridiculous Cold War thrillers like "Colossus: The Forbin" Project.
  5. Mostly laugh-free black comedy, which gathers an impressive cast - Marisa Tomei, Jennifer Connelly and Ciarán Hinds round out the ensemble - for bad sitcom-level shenanigans.
  6. 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.
  7. Set mostly in modern-day Shanghai and involving two other girlfriends (also Li and Jun), this parallel plot feels less like an attempt to broaden the book's horizons than to cash in on "Joy's" cross-generational appeal while doubling down on cheap-shot melodrama.
  8. Brühl, meanwhile, is saddled with the unenviable task of being this hollow movie’s slow-dawning voice of reason: His climactic conversation with newspaper editor David Thewlis (never worse) is one of the most embarrassingly didactic Way We Live Now™ summations ever filmed.
  9. It's just another franchise nonstarter to toss in the superstore superhero deal bin.
  10. Director Peter Webber, who once mined social unease from the painterly "Girl with a Pearl Earring," is out of his depth; this is a movie in desperate need of a no-nonsense Howard Hawks.
  11. Weird for weirdness’s sake gets you only so far, however, and when Dupieux tries to connect all these strange goings-on to Dolph’s corporate-drone despondency, the movie takes a spurious turn toward rancid sentimentality. It seems that even a piece of dog excrement has feelings. Yuck.
  12. Both the martial arts and the slightly dull narrative patchwork are too choppily edited to gain much of a foothold.
  13. It's an inspiring narrative-as are the interwoven stories of three students hoping to earn that educational gift-but the doc itself is more of a telethon-ready fund-raiser than a work of dramatic reportage.
    • 49 Metascore
    • 40 Critic Score
    Favoring style over substance isn’t a mortal sin, but Creevy isn’t as enthrallingly slick as compatriot Guy Ritchie, nor does he have anything like the "Lock, Stock and Two Smoking Barrels" auteur’s feel for Britain’s criminal class.
  14. Admission’s comedy has walls built around it; director Paul Weitz (About a Boy), normally a softener of harsh edges, might have been stymied by Fey’s snappy persona.
  15. Dog Pound only rarely finds the live-wire energy needed to make up for its amateur cast and staunch adherence to well-worn archetypes: cell-block bullies, sadistic guards, fresh-fish innocents, etc. Neither the film’s bark nor its bite leaves much of a mark.
  16. Too-cutesy conceits such as Hitch's imagined conversations with serial killer Ed Gein (Michael Wincott) feebly attempt to ground the story in psychological terra firma, while horribly on-the-nose dialogue flatters those viewers who prefer to keep their sense of cinema history on fan-mag frivolous levels.
  17. By the end of the ride, the movie’s messy humanity has officially calcified into After-School Special clichés; given the choice between handcrafted whimsy and heavy-handedness, we’ll take the former, thanks.
  18. The voice work sounds more quick-paycheck than impassioned, and the animation rarely rises above video-game cut-scene quality. As revisionist holiday fables go, you're better off watching Aardman's delightful "Arthur Christmas" than this lump of coal.
    • 46 Metascore
    • 40 Critic Score
    When it’s indulging in glammed-up musical sequences, Hunky Dory comes to life; everything else couldn’t seem less inspiring.
  19. While Fischer handles every emotional curveball, she's not helped by the film's reliance on rote notions of piecing your life back together. Is it worth putting a good actor through the screen-martyrdom wringer for a minuscule payoff?
    • 37 Metascore
    • 40 Critic Score
    The Black Tulip is noteworthy for its existence alone - and not, unfortunately, for much else.
  20. A new Red Dawn could have been so much more fun had it thrown a properly out-of-bounds tea party. (It lacks the signature brawn of original director John Milius, a guns-first libertarian.)
  21. Much cut-rate melodrama ensues, none of it particularly painful to watch, until a ridiculously redemptive finale negates almost all of the preceding dramatic tension and resurrects a cloying Richard Marx chestnut to boot.
    • 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.
  22. This Nickelodeon production may be designed for short attention spans, but must the characters have them as well?
  23. There’s a heart here, but with all the superficial noise, it’s hard to hear it beating.
    • 65 Metascore
    • 40 Critic Score
    Given the film's inability to posit any significant objections - or, for that matter, alternatives - to the turbines, it all feels like so much petty sniping against progress.
  24. We know how these bargains turn out, so all we're left to do is watch pretentious exchanges about grief pile up, laugh at the way the movie exploits its Indian-girl-as-innocence-personified notion and wish that Eddie Marsan's giddy cameo as Hell's personal weapons dealer were much, much longer.
  25. The escapades are tossed off and fall flat, all products of the business-as-usual template created by the film’s producers, Adam McKay and Will Ferrell.

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