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 Close-Up
Lowest review score: 0 Vampires Suck
Score distribution:
2,680 movie reviews
  1. Intrigue and eroticism abound, all of it watchable, none of it particularly exciting. And the misty widescreen photography lends the proceedings a funereal air of respectability that's like catnip to Oscar voters.
    • 67 Metascore
    • 40 Critic Score
    The Sapphires might pass muster as escapist fluff, but its pretensions of significance go woefully awry.
  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. An adaptation of Mike Batistick's Off Broadway play, this stagy character study about immigrants living off the crumbs of the American Dream revels in cut-rate street smartness. Then comes the third act, at which point the film moves from obvious message-mongering to the beating of a post–9/11 dead horse.
  4. The Rock deserves better than this ho-hum revenge picture.
    • 38 Metascore
    • 40 Critic Score
    The film feels more stale than timeless. Ditto the movie's rapid-fire dialogue, a stream of self-conscious patter that largely misses its targets and repeatedly takes the zing out of Tambor's zesty line readings.
    • 62 Metascore
    • 40 Critic Score
    The story is too rich in incident for Fabian, whose episodic TV-movie approach speeds through Laing’s lifetime of abuse.
  5. Shockingly dull.
    • 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.
  6. 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.
    • 54 Metascore
    • 40 Critic Score
    Kosinski continues to lavish far more thought on how his elaborate fantasy worlds look than how they work, and neither the politics nor the human stakes here coalesce into rational or relatable drama.
  7. Mostly, though, this Creek has run dry.
  8. Filmed with the somber pretentiousness of a "Babel," the movie never quite converts its premise into something grander (never mind believable). Meanwhile, the world starts to riot, yet their bed is warm. Will love save the day? Unfortunately for us, our sense of smell remains intact.
  9. At least the Abrams-helmed Star Trek from 2009 had a pretzel-logic playfulness; the portentously subtitled Into Darkness is attempting like hell to be a Trek for our troubled times. The franchise has been thoroughly Christopher Nolan–ized.
  10. Becomes a clumsy gringo approximation of something else. In this case, it's the old respectable-man-obsessed-with-fallen-angel cliché, which Demy fils tweaks with broad melodramatic strokes and Freudian flotsam, as well as a complete lack of focus or storytelling chops.
  11. Director Jeanne Labrune (Vatel) makes the most out of having a compellingly watchable movie star at her disposal, but neither some odd stabs at humor nor Huppert's versatility do much to enliven what's essentially a superficially sexed-up soufflé.
    • 54 Metascore
    • 40 Critic Score
    There are a handful of brilliant set pieces, including a scorched-earth attack on child beauty pageants. But this exercise in wink-nudge bad taste simply leaves a bad taste in your mouth.
  12. Whether sleuthing or smacking around thugs, Sisley makes a dashing hero, but this glossy action flick is heavy on tedious convolutions and depressingly light on character depth, suspense or political-economic intrigue.
  13. More of a massive back-patting for bleeding hearts than a comprehensive-or even semi-comprehensive-survey of DIY protest art, the film unintentionally makes the perfect valentine for the OWS version of radicalism: It's righteous, full of rage and cripplingly unfocused.
  14. There’s a marked sense of retreat in this tale that’s never explored--everyone goes out of the way to remember the past through rose-colored specs.
  15. The problem is that the filmmaker brings D-grade craft to these B-movie exertions, making his florid maximalism more entertaining to talk about than endure - despite the best efforts of his ardently slumming A-list cast.
    • 37 Metascore
    • 40 Critic Score
    Riseborough's acting offers total commitment in the face of lunacy, but it's a shame she's flapping around in an egotistical film with such a terribly warped sense of purpose.
  16. This is the ultimate sin of the film, generically helmed by lad-auteur Guy Ritchie: Logic seems to be thrown out the window in order to make room for clashes on a partially completed Tower Bridge. It’s way too elementary.
  17. 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.
  18. This is the same old safe, sappy movie that shows up on TBS every weekend.
  19. It goes off the rails early and often. You almost have to give it props for how resolutely batshit it is. Almost.
    • 54 Metascore
    • 40 Critic Score
    Whether it's Caplan and Webber trading goofy dance moves or Brie being perkily OCD-ridden, Date works best as a collection of winsome, unconnected vignettes; its ideal distribution model would be piece by piece on YouTube.
  20. It's too bad V/H/S starts off on such a high note. Mainly, the omnibus film feels undercooked, even on the grounds of its forced technological setup.
  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?
    • 36 Metascore
    • 40 Critic Score
    Perhaps the director is trying to show her socialites’ path to finding themselves, but her point ends up as lost as the film’s aimless hedonists; like its characters, Lotus Eaters is a visual treat—and emotionally vapid.

Top Trailers