Time Out New York's Scores

  • Movies
For 2,606 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 Carlos
Lowest review score: 0 Vampires Suck
Score distribution:
2,606 movie reviews
  1. The director races far too quickly to get to his ashes-to-ashes, dust-to-dust punch line. This is the film of a pretender, not a believer.
  2. Hop
    The various plot threads-E.B. is pursued by a trio of ass-kickingly cute long-eared operatives; a disgruntled worker chick (voiced in emphatic Telemundo tones by Hank Azaria) orchestrates a coup d'état-mostly get lost amid all the allusions. Even Hugh Hefner pops up because, you know, Playboy Bunnies.
  3. None of this is particularly well wrought, and only a bizarre gas mask worn by the séance leader counts as an inspired (if slightly silly) touch.
  4. 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.
  5. 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.
  6. 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.
  7. The original film, for all its zaniness, existed in a recognizable Koch-era metropolis, one that paradoxically added to our hero's likable haze of denial. This time, the town is far shinier (what recession?).
  8. 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.
  9. The disparity only makes Reeves's earnest-but-monotonous turn that much more pronounced-and the film that much more dismissible.
    • 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.
  10. Campy but never dull, this first of three installments ends on a fiery cliffhanger. The completion of parts two and three would represent a victory for irrationality.
  11. This was Italy's official submission for Best Foreign Film to the 2011 Academy Awards (a red flag more often than not), and, sure enough there's little here that rises above middlebrow.
  12. Steven Peros's character study is clearly designed as an homage to vintage Tinseltown mystique, so it's a pity that the old guard would have been mortified by Peros's rudimentary craftsmanship and Temtchine's thudding performance as a walking metaphor for L.A.'s young, A-list–averse idealists.
  13. Rio
    Compared to Pixar's "Up," a much more organic and heartfelt story about making friends in far-flung places, Rio simply feels rote.
    • 55 Metascore
    • 40 Critic Score
    If violence ever comes into the picture-and considering the illegal millions made from trafficking, it strains credulity to imply it doesn't-we don't hear about it, as Corben wants to paint the subjects as drug-war martyrs.
  14. While the movie isn't "Witness," you know that comic scenes of target practice are going to make sense around the bend.
  15. Since this is a House of Mouse production, sentimental order must inevitably be grafted onto nature's pitiless chaos. The cornball voiceover ascribes human wants and desires to the animals.
  16. A single arresting shot of a photographer chasing a man on fire says more about journalistic ethics and the queasy power of the image than all of the speechifying and star-posing combined; if only the rest of this muddled movie had as much insightful Sontagian bang.
  17. Some ventriloquists win the fame game, while some remain stuck in the D-list dugout. The fact that Dumbstruck doesn't even attempt to differentiate these camps makes the film feel as if it's just talking out of the side of its mouth.
  18. Rather than an argument or exposé, the movie is a condescendingly narrated demonstration of how money makes the movie world go round. (Stop the presses.)
  19. The movie's infrequent martial-arts centerpieces deliver the feeblest of punches.
    • 35 Metascore
    • 40 Critic Score
    The bulk of the film inspires little more than eye-rolling and impatient finger-tapping.
  20. Without larger-than-life drama or a steady stream of historical detail, it's merely a gargantuan production that's been lavished on a story hardly worth trumpeting.
  21. Offers an intriguing outsider's document of Russian culture reinventing itself from the outside in; its main export, however, seems to be good old-fashioned Ugly Americanism.
  22. Lessons are learned, bullies get their comeuppance, and every Wonder Years plot device is trotted out for maximum and-I-was-never-the-same-again nostalgia.
  23. The culture wars may be simmering throughout writer-director Ben Hickernell's script-the Save the Whales and pro-choice bumper stickers on Will's VW invite a brutal barfly beatdown-but the real casualties are momentum and narrative cohesion.
  24. Thor accomplishes its essential goal and little else, which is to introduce the mighty warrior to the Marvel screen universe.
    • 67 Metascore
    • 40 Critic Score
    The Fast and the Furious movies haven't exactly gotten better as they've gone along.
    • 36 Metascore
    • 40 Critic Score
    This rom-com certainly has something old, something borrowed and something blue-the something new, however, is MIA.
    • 56 Metascore
    • 40 Critic Score
    While Jumping the Broom showcases rarely depicted class issues within the black community, the film still relies on wince-inducing stereotypes to delineate them.

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