Time Out New York's Scores

  • Movies
For 2,784 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 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Blue Valentine
Lowest review score: 0 Vampires Suck
Score distribution:
2,784 movie reviews
    • 60 Metascore
    • 60 Critic Score
    It's a winning farce, if one that's far too broad.
  1. Anderson makes often-inspiring use of the 3-D effects.
  2. There's too much beauty and ballast in the movie's early stages to dismiss Ceylan's cerebral cop drama, and too much genuine banality in its latter acts to justify a sluggish slouch into the shallow end.
    • 70 Metascore
    • 60 Critic Score
    Call it "Brokeback Talmud"--not just for its taboo-busting depiction of a gay affair between Orthodox Israelis, but because it adopts Ang Lee’s slow-burn seriousness almost to a fault.
  3. Now, with this underwhelming sequel, Spain proves it can stand toe to toe with any nation in the manufacture of unnecessary follow-ups.
  4. If you see only one Sono film, check out this flick; you will have then seen them all.
    • 51 Metascore
    • 60 Critic Score
    The movie’s ideas run out quickly, but De Niro is easygoing, and The Intern is indulgent good fun. Just don’t go in expecting nutrition.
  5. The film wants to be inspiring, when it might have been cosmic-a far greater ambition. Tossing boats and dreamers, the huge waves perform beautifully.
    • 57 Metascore
    • 60 Critic Score
    It's more a summarizing project than an act of investigative journalism or a revelatory indictment.
  6. Though Lemmons’s parable-like intentions are clear, almost every beat of Langston’s tale, with its absent father figures and heated gun-pointing melodrama, rings false — hardly a fitting contemporary complement to the Greatest Story Ever Told.
  7. The filmmaker strikes gold in her varied selection of defectors, especially the military man fed up with the myopic chain of command.
  8. Henry Hobson’s zombie movie does for coping with terminal illness what "Dawn of the Dead" did for consumerism, the difference here being that Hobson isn’t interested in satire, only sadness. Oh, and he’s got Arnold Schwarzenegger.
  9. If Last Ride leans heavily on fugitive-life lyricism, it benefits from an incredible father-son chemistry between Weaving and Russell-one that makes the movie's inexorable drive toward tragedy that much more gut-wrenching.
  10. Smash & Grab aims to replicate the mesmeric tension of a Michael Mann thriller (the crime-cinema impresario is even explicitly referenced by one of the cops assigned to hunt down the group), though the film is so all over the place stylistically that it often seems like several different movies cut together.
  11. At its best, Outrage offers a meat-and-potatoes look at an age when battles of honor and humanity are AWOL in yakuza society. As things wind toward the inevitable hierarchical breakdown, however, the movie too often resembles a repetitive cycle of tough guys shouting, shooting and shuffling off this mortal coil.
  12. Flimsy dialogue and fickle characters undercut the weighty historical demons in this fractured family portrait of three generations of men dealing with their emotional scars.
  13. This is one case where there’s more life in the morgue than out.
    • 58 Metascore
    • 60 Critic Score
    Only a periodic focus on the troubled backstory of the team’s coach, American cyclist Jock Boyer, strikes the wrong note, distracting from a far more compelling tale.
  14. As a chronicle of grief and passion, however, the film is perilously close to being an exercise in tactile but touchy-feely passive-aggression.
  15. LaMarque foregrounds her scenario’s awkwardness—it never quite feels like a comedy—and the pair of male suitors she brings in (Jake Johnson and Ron Livingston) are, refreshingly, as unfixed as her main character. But you still wish Kazan had more to work with.
    • 52 Metascore
    • 60 Critic Score
    Unlike the clothes, though, the film is shapeless, running at its subject from all directions but never quite reaching its core.
  16. Gibson simply turns his signature righteous rage into a crushing inward sorrow-Sad Max?-and Foster boldly plays everything straight, rendering her actor's unnerving turn to mania (and a pitch-black third act) with zero tongue-in-cheek.
  17. Playing smarter and smoother than the plot, Cisneros uncorks an antimacho performance that deviates from type. His unconventional hero is worthy of a more original treatment.
  18. Unknown is probably the movie "The Tourist" wanted to be, if it had a pulse. Its sheer momentum makes Neeson and Kruger more attractive than even Johnny Depp and Angelina Jolie.
  19. Though Aron Gaudet’s documentary never quite captures the relieved atmosphere of these homecomings, it does acknowledge the dark side of a cheery platitude: those on both sides of the divide are in need of healing.
  20. Based on a banned short story from the 1920s, Caterpillar might be read as a reaction to hawkish nationalism, but it's more a cry for the unknown soldier in the kitchen and bedroom.
  21. The combination of provincial accents and Stormare's patented creepiness make "Fargo" comparisons inevitable, though Canadian filmmaker Ed Gass-Donnelly's tongue isn't anywhere near his cheek.
  22. Often has the feel of a film-school exercise in which the object is to wring maximum suspense from rudimentary tools.
  23. Overflowing with super-slow motion, color filters and the clunkiest of flashbacks, The Last Lions frequently amplifies the melodrama to borderline-excessive proportions.
  24. Watching the elder statesman spin ring-a-ding wisdom is one thing; witnessing his generosity to another artist who couldn't handle her own talent, however, speaks volumes about what actually lurks under his placid, seemingly imperturbable surface.

Top Trailers