Time Out New York's Scores

  • Movies
For 3,030 reviews, this publication has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% lower than the average critic
On average, this publication grades 6.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 A Prophet
Lowest review score: 0 Vampires Suck
Score distribution:
3030 movie reviews
  1. The film's sure-to-be-brief theatrical release is a mere stopover on the way to basic-cable eternity.
  2. While veteran director Fernando Trueba (Belle Epoque) and writer Jean-Claude Carrière don’t bring much novelty to the May-December/muse-artist/naked-clothed cliché, they do imbue the material with genuine feeling—exploring the melancholy of waning days and a defiantly naive belief in artistic transcendence.
  3. Apart from the devastating material itself, some of Lapa’s aesthetic choices are extremely off-putting.
  4. Diplomacy’s origins as a play (written by Cyril Gely and starring the same actors) are always evident. Despite Schlöndorff’s attempts to give the movie some pop through widescreen lensing and noirish lighting, it’s a visually staid affair—very “filmed theater.” Fortunately, both Arestrup and Dussolier are captivating presences.
  5. Split trots out many of Shyamalan’s pet moves (it’s amazing how well we know this filmmaker), including his tendency to infuse genre nonsense with the deeper trauma of child abuse.
  6. Bold performance or not, you can see history weighing heavily on Elba’s shoulders (in later scenes as an older man, you can see the makeup, too).
  7. Antal and his performers’ pure B-movie esprit is undeniable.
  8. Combining the knowingly arch style of Abbas Kiarostami (whose "Certified Copy" towers over and belittles this film) with the didactically educational passion of your favorite art professor, La Sapienza alternately feels like a self-reflexive love story or a haunted history lesson—its best scenes play like both.
    • 64 Metascore
    • 60 Critic Score
    If nothing else, Ruedi Gerber’s celebratory portrait of Anna Halprin--a postmodern-dance pioneer and Gerber’s former teacher--is a fascinating testimonial to the healing, age-defying powers of both her art and artistry.
  9. Simply skip the first part entirely: "Killer Instinct" bulges with a disconnected jumble of nightclub attacks and fence-clipping escapes you've seen better elsewhere. Yet a tide change happens with the superior Public Enemy No. 1, which takes the subject's raging ego as its cue.
  10. Tony Scott almost wins us over with this fun thrill ride.
  11. Spring isn’t coy about the fact that Louise is harboring a dark secret, and the film’s appeal is rooted in its refreshing eagerness to focus on aspects that most monster movies would think too human.
    • 71 Metascore
    • 60 Critic Score
    It’s an adoring portrait — almost cloyingly so — with an emotional soundtrack that grates a little.
  12. Imagine "Goodfellas" without much in the way of stakes, and you’ll get Clint Eastwood’s pleasingly square and forgettable adaptation of the Tony-feted 2006 jukebox musical.
  13. It exists in fits and starts: a Blade Runner–esque moment of rainy contemplation on a hotel balcony; some weird sexual tension with a lizard girl (statuesque Svetlana Khodchenkova) who steals away Wolverine’s healing powers.
    • 60 Metascore
    • 60 Critic Score
    It's a winning farce, if one that's far too broad.
  14. Anderson makes often-inspiring use of the 3-D effects.
  15. There's too much beauty and ballast in the movie's early stages to dismiss Ceylan's cerebral cop drama, and too much genuine banality in its latter acts to justify a sluggish slouch into the shallow end.
    • 70 Metascore
    • 60 Critic Score
    Call it "Brokeback Talmud"--not just for its taboo-busting depiction of a gay affair between Orthodox Israelis, but because it adopts Ang Lee’s slow-burn seriousness almost to a fault.
    • 55 Metascore
    • 60 Critic Score
    The action is largely routine and the dialogue rarely more than functional, but DeMonaco, marshalling the franchise’s best production values yet, shrewdly taps into the angry zeitgeist; his vision of an America where the citizens are encouraged to express their basest emotions is more relevant than ever.
  16. Now, with this underwhelming sequel, Spain proves it can stand toe to toe with any nation in the manufacture of unnecessary follow-ups.
  17. If you see only one Sono film, check out this flick; you will have then seen them all.
    • 51 Metascore
    • 60 Critic Score
    The movie’s ideas run out quickly, but De Niro is easygoing, and The Intern is indulgent good fun. Just don’t go in expecting nutrition.
  18. The film wants to be inspiring, when it might have been cosmic-a far greater ambition. Tossing boats and dreamers, the huge waves perform beautifully.
    • 57 Metascore
    • 60 Critic Score
    It's more a summarizing project than an act of investigative journalism or a revelatory indictment.
  19. Though Lemmons’s parable-like intentions are clear, almost every beat of Langston’s tale, with its absent father figures and heated gun-pointing melodrama, rings false — hardly a fitting contemporary complement to the Greatest Story Ever Told.
  20. The filmmaker strikes gold in her varied selection of defectors, especially the military man fed up with the myopic chain of command.
  21. Henry Hobson’s zombie movie does for coping with terminal illness what "Dawn of the Dead" did for consumerism, the difference here being that Hobson isn’t interested in satire, only sadness. Oh, and he’s got Arnold Schwarzenegger.
  22. If Last Ride leans heavily on fugitive-life lyricism, it benefits from an incredible father-son chemistry between Weaving and Russell-one that makes the movie's inexorable drive toward tragedy that much more gut-wrenching.
  23. Smash & Grab aims to replicate the mesmeric tension of a Michael Mann thriller (the crime-cinema impresario is even explicitly referenced by one of the cops assigned to hunt down the group), though the film is so all over the place stylistically that it often seems like several different movies cut together.

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