Time Out New York's Scores

  • Movies
For 2,743 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 The Sun
Lowest review score: 0 Vampires Suck
Score distribution:
2,743 movie reviews
  1. The paeans about national pride and brotherhood may be regional, but constant slow-motion battle scenes and squishy sentimentality are strictly wanna-be Tinseltown.
  2. With the film heavily favoring extensive on-court footage at the expense of in-depth individual portraits, the “more” offered here is merely skin-deep, basketball-is-a-brotherhood uplift.
  3. Reitman, who also cowrote the screenplay, feels the constant need to "deepen" his characters, granting them wants and motivations--especially during the moralistic third act--that are totally alien to how they're initially portrayed.
  4. Queens-born horror specialist Stevan Mena has mastered the slow camera creep and the unusually artful vista-he even composes his own orchestral scores, good ones. But he needs to give up screenwriting, pronto. Put down the laptop, Stevan.
  5. The star and co-director appears hopelessly out of place, trapped in a variety of awkward-fitting uniforms while forced to offer up laughably obvious battlefield advice ("Avoid gunfire!").
  6. Palmer's acknowledgement of his own involvement in, and thrill at watching, these events speaks volumes, but simply showing generations of pasty, fat men pounding each other to a pulp shouldn't be mistaken for an in-depth exploration of Gaelic machismo.
  7. Vampirism is the new monstrosity du jour, and with Cirque du Freak: The Vampire’s Assistant, tweener boys get their own testosterone-infused variant of Twilight.
    • 38 Metascore
    • 40 Critic Score
    Once upon a time, the star would have added both gravity and a manic edge to this wronged everyman. At this juncture, Cage is less believable as an average Joe than he is as, say, a cursed trick rider with a flaming skull for a head.
    • 53 Metascore
    • 40 Critic Score
    The use of real musicians (both professionals, like Nellie McKay, and street performers) provides a certain authenticity to the performances, but the film's wide-eyed view of New York as a wonderland of harmonic diversity soon grows as tiresome as the film's trite romantic shuffling.
    • 49 Metascore
    • 40 Critic Score
    Neither totally impartial nor a puff piece, Varon Bonicos's documentary on fashion icon Ozwald Boateng nonetheless evinces a minimal amount of interest in digging into what makes its subject tick.
  8. Fightville doesn't pummel you with outsider viewpoints - it doesn't seem to display much of a point of view at all.
  9. Given the months-long hype, what’s most bewildering about Sundance sensation Precious is its overall shrug-worthiness.
  10. There are a million coming-out stories in various naked cities, and filmmaker Bavo Defume's contribution to the genre initially differentiates itself with a vibrant, creatively campy color scheme. Once the visual touches fade away, however, there's nothing to stop the parade of clichés.
  11. As its title suggests, this is more of a self-conscious attempt to court quirky cult-film status. Nice try.
  12. Eager to please and easy on the eyes, The Kings of Summer sails right down the middle, safely tacking between sitcom setups and grandiose MGMT-scored montages without forming its own distinctive feel.
  13. This is little more than an episode of VH1's Classic Albums writ large. You'll learn everything you ever wanted to know about the making of this chart-topping behemoth - except for insights about the man in the mirror who created it.
  14. The one real takeaway here is not that things are tough all over, or that movie stars equate slumming with authenticity; it’s that no actor should be asked to do a sexy dance to Crazy Town’s “Butterfly.” Ever.
  15. Good actors like Vera Farmiga and Brendan Gleeson show up to bust balls and bark expository dialogue with check-in-the-bank-yet? proficiency. Add in a couple of dully pro forma narrative twists to keep you awake in between shots of distractingly exotic South African scenery, and you've got a first-quarter Hollywood release par excellence. Meaning not.
    • 54 Metascore
    • 40 Critic Score
    More earnest than agile, the whole thing smacks of heavy-handed authorial jiggering-never mind that it's based on a true story.
  16. Other than giving Almodóvar regulars Carmen Maura and Lola Dueñas plum supporting roles, that's the best you can say about Philippe Le Guay's trite-to-intolerable tale on the discreet eye-opening of the bourgeoisie.
    • 31 Metascore
    • 40 Critic Score
    It’s an engrossing, overstuffed disaster—sometimes captivating, sometimes too ingeniously terrible to turn away from; it’s like watching a car wreck in slow motion, if both cars were stuffed with confetti.
  17. How does one remain an unapologetic fan of Vaughn, abrasive though he is, even as his material fails him?
    • 40 Metascore
    • 40 Critic Score
    Turner seems stifled by the joyless role of a woman whose only purpose is to be taught the error of her sanctimonious ways.
  18. There’s slow-burning, and then there’s simply slow; the difference between the two has never been so apparent.
    • 51 Metascore
    • 40 Critic Score
    For a film about sexual conquest, Nobody Walks is a frustratingly flaccid affair.
  19. 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.
  20. The historical tragedy that's dramatized is heartrending; the movie itself is merely one cliché piled atop another.
    • 31 Metascore
    • 40 Critic Score
    Eventually, the self-regarding acting clan admits they're only human after all. By then, the audience may want to disown them.
  21. Rob Epstein and Jeffrey Friedman's mostly whiffed docudrama makes the influential poem by Allen Ginsberg (Franco) seem dull, ordinary, pedestrian instead of pioneering.
  22. A film that could have been memorably haunting is, sadly, all too forgettable

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