Time Out New York's Scores

  • Movies
For 2,728 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 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Investigation of a Citizen Above Suspicion [re-release]
Lowest review score: 0 Vampires Suck
Score distribution:
2,728 movie reviews
    • 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.
  1. 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.
  2. 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.
  3. While Bier doesn't offer easy partisan answers, she still dilutes a social issue down to the level of soap-operatic background noise and back-patting platitudes. It-and we-deserve better.
  4. All Turbo does is give Reynolds, Paul Giamatti, Samuel L. Jackson and Snoop Dogg the easiest paychecks they’ll ever make, and its corporate overlords the chance to sell a few toys.
  5. No amount of eccentric Americana (or slyly marginal inventiveness) can salvage this strangely lifeless - and largely laughless - gonzo comedy, which is doomed by a flimsy script, one-dimensional characterizations and distractingly inept child acting.
    • 35 Metascore
    • 40 Critic Score
    Helnwein's elaborate vision bumps up against practical concerns and meets with resistance - a conflict that this superficial portrait glosses over almost as much as it reduces Helnwein to simply being a determined, intransigent creative type.
  6. Like all advertisements, this scripted movie is a perfect fantasy: expertly coordinated, simplistic (the bad guys like yachts and bikini girls while our heroes have loving families) and more than a little scary.
    • 28 Metascore
    • 40 Critic Score
    It’s a lightweight drama filled with heavyweight war-is-hell monologues, delivered by a cast that lacks the gravity to sell them.
  7. Queen to Play does slightly buck convention by depicting intellectual development (rather than lovey-dovey triumph) as the key to reshaping identity, as well as a form of class advancement and spiritual enlightenment. Such notions, however, are drowned out by deafeningly creaky conventions of cutesy self-discovery.
  8. Less a nightmare than a case of bad indigestion, this ’80s horror reboot is a primer in the humorless recycling of potent pop culture.
  9. Only "Slumdog Millionaire's" Dev Patel, as the bastard prince of the villainous Fire nation, truly gets jiggy with the fantasy. Everyone else stares off into green-screen space and waits for lunch to be called.
  10. The closer this parable inches toward tragedy, the more you can feel the gap between good intentions and generic exotica-grandstanding widening into an unbridgeable chasm.
  11. You doubt Wiseman's sense of pacing. Still, he must have had a good time shooting.
  12. Only Hélène Cattet and Bruno Forzani, directors of 2009’s stylish Amer, emerge intact with “O Is for Orgasm,” a surging montage of fluid colors and moans.
  13. This remake of ’70s Spanish horror film "Who Can Kill a Child?" is less a contemporary upgrade than an eagerly creaky exploitative throwback.
  14. To the movie's small credit, there's very little grasping for larger significance: It's a dumb horror film, complete with a sexy female lust object (Kaboom's Mesquida) undraping for a shower scene.
    • 42 Metascore
    • 40 Critic Score
    Once a scarred shark hunter (Liev Schreiber) enters the fray, the film’s tone shifts from madcap to maudlin, and the narrative from being merely grating to actually galling. Artistic inspiration can be close to madness, but Mental is just plain nuts.
    • 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.
  15. But while you can’t fault this labor of love’s conception, you can take issue with its leaden execution.
    • 24 Metascore
    • 40 Critic Score
    Surprise! The upper-middle-class family is still rotten to the core. In Vivi Friedman's overstuffed farce, the parents cheat on each other, the daughter dresses like a streetwalker, and the Bible-thumping son starts carrying a Glock.
  16. The trek to get there is sluggish at best, torturous at worst. March away, penguins. Far away.
    • 43 Metascore
    • 40 Critic Score
    The movie isn't without its charms, with several supporting characters - a hotel-desk clerk, a French police chief - adding a touch of "Pink Panther"–esque humor to the mix.
    • 51 Metascore
    • 40 Critic Score
    The film stumbles through rounds of ham-fisted melodrama.
    • 53 Metascore
    • 40 Critic Score
    Unfortunately for this rock documentary, this fan-to-frontman saga is not that interesting a turn.
  17. The film plays like something Boyle could kick out in his sleep, all his supercool devices listlessly deployed in service of a mediocre wet dream.
  18. Ceremony passes by quickly and painlessly, its annoyances easily forgotten. On the plus side, Thurman and Angarano do work up a sweet odd-pair chemistry.
  19. Given only hints of personalities and the thinnest strands of stories, we’re left with a hum of tinny snippets instead of anything that resembles the glorious noise of people putting on show after show after show.
  20. The time-killing universe Byington has created makes sure we never forget how absurd he thinks the whole movie is. Fun for him, perhaps.
  21. The disparity only makes Reeves's earnest-but-monotonous turn that much more pronounced-and the film that much more dismissible.

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