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 A Separation
Lowest review score: 0 Vampires Suck
Score distribution:
2,784 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. This is the same old safe, sappy movie that shows up on TBS every weekend.
  12. 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.
  13. 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.
  14. The big question isn’t whether middle-aged romance will bloom, but rather, how much sub-Jarmusch deadpan humor and pathos can you take?
  15. A bizarre, conflicted mess, horrifying when it’s trying to be funny, oddly appealing when it turns the screws.
    • 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.
  16. The movie meanders like its dissatisfied, part-time pothead protagonist, not wisely but too well.
  17. The film blows up a minor aspect of the New Wave to foolishly apocalyptic proportions, substituting gossip for gospel.
    • 38 Metascore
    • 40 Critic Score
    The keenest irony is that Imogene’s fake suicide note is the most convincing thing she’s ever written — which makes perverse sense since Girl Most Likely is DOA.
  18. For a movie with a critique of mediocrity well within its grasp, this one settles for an embrace of it, barely breaking a sweat.
  19. The whole movie feels like a case of the sweats, putting you in desperate need of the chicken soup of recognizable human behavior.
    • 60 Metascore
    • 40 Critic Score
    Madagscar 3 is less interested in plucking the last bit of meat off the series's bones than with simply picking the lowest-hanging fruit.
    • 43 Metascore
    • 40 Critic Score
    Essentially an overlong, off-brand episode of Curb Your Enthusiasm.
  20. Bong is so concerned with whodunit that his creaky genre mechanics diminish Kim's determined performance.
    • 28 Metascore
    • 40 Critic Score
    Ultimately, the silly material overwhelms the style, particularly in a final act involving magical hillbillies living in them thar hills — during which the movie attempts to make a serious point about the importance of faith in the midst of a lot of bad teeth, worse wigs and cheap jolts. Right.
  21. A soundtrack of churning rock songs by the Kills is as close as this misfire gets to authentic grrrl power, borrowed as it is.
    • 18 Metascore
    • 40 Critic Score
    Whatever possessed Bell & Co. to turn a slow-burning creepfest into a frenzied freak show of multiple exorcisms (including one in a moving car), the devil only knows.

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