Time Out New York's Scores

  • Movies
For 2,618 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 Trip
Lowest review score: 0 Vampires Suck
Score distribution:
2,618 movie reviews
  1. 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.
  2. Pornography: A Thriller may have a few interesting things to say about porn. But thrills? Not so much.
  3. 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.
  4. 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.
  5. 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
  6. Less a nightmare than a case of bad indigestion, this ’80s horror reboot is a primer in the humorless recycling of potent pop culture.
  7. Caan can’t seem to play up his strengths. He’s a raw talent who needs an editor for his scripts and a strong hand behind the camera guiding him. Mercy gives our guy neither.
  8. With this depressingly bland sequel (scripted by snark specialist Justin Theroux), he’s (Robert Downey Jr.) stranded in lightweight arrogance.
  9. A Jerry Bruckheimer–produced video-game adaptation--it has to be good, doesn’t it? (Ya, sarcasm.)
  10. One wrongheaded jaw-dropper follows another.
  11. Third times are rarely charms in the movies, much less fourth go-rounds, and it takes more than ho-hum 3-D and video-game-ready action sequences to liven up diminishing returns
  12. From its opening montage of Hallmark-worthy kisses to a climactic clinch under the Tuscan sun, Letters to Juliet celebrates synthetic sentiment.
    • 51 Metascore
    • 40 Critic Score
    Too much of this love triangle rings false.
  13. Babies is barely more insightful than your average Flickr photo gallery or home movie clip: it’s just infant porn for prospective parents.
  14. The big absence here is the man himself; Gibney couldn’t get the jailed Abramoff on camera, either due to unwillingness or a Justice Department intervention. Whatever the reason, it’s crippling.
    • 35 Metascore
    • 40 Critic Score
    Cowriter Branch isn’t much of a dramatist either, as this hoary midlife-crisis tale is watchable solely for its reliable cast.
  15. This is like a subpar "Naked Gun" feature cooked up by Eisenstein and Godard during a drug-addled lost weekend. Where's Leslie Nielsen when you need him?
  16. If this is what passes for contemporary art terrorism, we’ll opt instead for something truly subversive--like genuine art
  17. Diced into hash, the action sequences are unusually painful: poundingly loud and punctuated by Liam Neeson's bark, Bradley Cooper's manic heehawing and a total lack of clarity.
  18. Kilcher makes the slog worthwhile--her face gleams with possibility, even in the character’s darkest moments--though one prays she escapes the typecasting trap ASAP.
  19. But while you can’t fault this labor of love’s conception, you can take issue with its leaden execution.
  20. 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.
  21. The big question isn’t whether middle-aged romance will bloom, but rather, how much sub-Jarmusch deadpan humor and pathos can you take?
  22. It takes more than a few good actors playing bad apples to sustain such familiar romps through regurgitated material. There’s no bounty to be plucked from Perrier’s Bounty. The treasure chest has long since been emptied.
  23. The sequences in Micmacs are contorted too: impressive and bendy and aggressively shallow.
  24. No viewer goes into this movie expecting John Cassavetes's "Husbands," least of all from soft-serve director Denis Dugan (You Don't Mess with the Zohan).
  25. The film blows up a minor aspect of the New Wave to foolishly apocalyptic proportions, substituting gossip for gospel.

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