Time Out New York's Scores

  • Movies
For 2,617 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 Man Who Fell to Earth (1976)
Lowest review score: 0 Vampires Suck
Score distribution:
2,617 movie reviews
  1. What was Clint thinking? (Or Martin Scorsese, when he made "Shutter Island," for that matter.)
  2. For those of us with a love of actorly indulgence, though, the film is a treasure trove, filled with enough molten-gold performances to gild a thousand Oscars.
  3. Good policy does not ensure good drama; Gerrymandering summarizes an urgent issue but forgets to detail the true fallout.
  4. Even the admittedly thrilling gameplay footage and time-capsule news reports are couched in contexts that seem crudely sketched out.
  5. Whether anyone over the age of 16 will find the film's proud amateurism and choir-preaching personally enlightening, much less profound, is anyone's guess.
  6. The impression is less of calculated ineptitude than of seasoned professionals (director Tod Williams made The Door in the Floor) playing dumb, as a checklist of household items-frying pans, endlessly shutting doors, a pool cleaner with a mind of its own-test viewers' reflexes.
  7. Only Leo, always a dependable supporting actor, turns her character into something resembling a three-dimensional person. Watching her tentatively reconnect with her maternal instincts is a welcome surprise. Everything else here just feels like another descent into mediocre Amerindie miserablism.
  8. This can't be a faithful facsimile of the literary phenomenon currently turning soccer moms into Scandinoir crackheads. Nor can ethical journalist Mikael (Nyqvist), an uncoverer of conspiracies, actually be the dull, Windbreakered nonaction hero onscreen.
  9. It's entertainment designed to resemble a good time without aspiring to provide one.
  10. Strange Powers works best when inadvertently capturing the toll of living in the shadow of a genius. When it comes to examining the genius himself, it's woefully out of tune.
  11. Jaglom can craft a scene and stage organic conversations, but if his saps and suckers never wander beyond a hermetic view of the real world, then so what?
  12. From its title on, Come Undone is as dully generic as is imaginable.
  13. One's heart sinks the moment the trio is picked up by Prince Caspian (Barnes) and deposited on his ship, the Dawn Treader. Suddenly we're in green-screen land, where everything looks cheap, heavily digital and unfortunately postconverted to 3-D-hardly a fantastical otherworld.
  14. For an especially egregious bit of miscasting, look no further than Mena Suvari, star of this tony adaptation of Ernest Hemingway's posthumously published novel about a disintegrating marriage.
  15. The movie's twitchy, diabolical monster is neither persuasive nor historically tenable, and unlike Arendt's Eichmann, he's far too easy to dismiss.
  16. The more substantial material, including Spitzer's feuds with vindictive New York politician Joe Bruno and financier Ken Langone, gets short shrift.
    • 51 Metascore
    • 40 Critic Score
    The film stumbles through rounds of ham-fisted melodrama.
  17. This charmless movie thinks it can soft-sell its date-night love story and its media meta-jabs without people feeling they've been bamboozled on either count.
  18. Even by the stultifying standards of everything's-screwed ensemble movies, Joseph Infantolino's thirtysomething drama feels particularly threadbare.
  19. Reducing an influential genius to a bohemian Zelig with a firearm fetish misses the forest for the flaming metal trees; in Leyser's biographical interzone, the superficial trumps the truly subversive.
  20. You keep waiting for the movie to grow a brain, for that random attractive neighbor (Wilde) to turn out to be a decoy, for Banks herself to become suspect. Nope. The Next Three Days morphs into "The Fugitive" on steroids.
  21. Clearly there's a lot of myth-dispelling to do; indeed, the film often seems like a public-service announcement wrapped around a sketchy narrative skeleton.
  22. Lilien certainly captures Pale Male's wild animal beauty in loving close-up. What his film needs, however, is distance.
  23. The movie dies onscreen; it might be the best advertisement for avoiding the glories of Italy ever released by a Hollywood distributor.
  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 Rock deserves better than this ho-hum revenge picture.
  26. What starts as an intriguing reverie ends as a hollow allegory.
  27. Like a stumpy limb requiring quick cauterization via steam pipe (our first cringe), the Saw series is begging for closure.
  28. Listen to the rhythms of "Broadcast News" - from Holly Hunter's daily crying jags to William Hurt's cock-of-the walk patter - and you'll hear how romantic comedy can approach an art form, a roundelay that requires the ear of a conductor. How Do You Know, James L. Brooks's latest, has such tone-deaf passages that it feels made by a totally different man.
  29. This is fertile material for a darkly comic indictment. Instead, we get recycled cynicism (politicians are hypocrites! more dirty money, more problems!) and Spacey's gallery of impersonations-W.C. Fields, Stallone, Reagan-in lieu of a flawed, flesh-and-blood human being.

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