Time Out New York's Scores

  • Movies
For 2,468 reviews, this publication has graded:
  • 31% higher than the average critic
  • 2% same as the average critic
  • 67% lower than the average critic
On average, this publication grades 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 A Man Escaped (1956)
Lowest review score: 0 Vampires Suck
Score distribution:
2,468 movie reviews
  1. No one's asking for a somber account of simian life, but perhaps Buzz Lightyear could keep quiet for a bit and let the monkey business speak for itself.
  2. Question: What's the only thing worse than doing an unfaithful film adaptation of a Nicholas Sparks novel? Answer: Doing a completely faithful one.
  3. The story's treacly all-souls-in-alignment outcome is never in doubt, but as Kasdan dogs go, this is light-years better than Dreamcatcher.
    • 48 Metascore
    • 40 Critic Score
    Somebody give Werner Herzog an IMAX camera already, and let's see what a real filmmaker does with the format.
  4. The paeans about national pride and brotherhood may be regional, but constant slow-motion battle scenes and squishy sentimentality are strictly wanna-be Tinseltown.
    • 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.
  5. Fightville doesn't pummel you with outsider viewpoints - it doesn't seem to display much of a point of view at all.
  6. This is the same old safe, sappy movie that shows up on TBS every weekend.
    • 51 Metascore
    • 40 Critic Score
    The film cuts with such precision that there's scarcely any room to breathe; it's the rare thriller that is perhaps too tightly structured.
  7. Bibliophiles, librarians and graduate students may swoon at the sight of the author's signature grotesquerie.
  8. Madden pads the film with shimmering images of Jaipur and its surroundings; a midmovie funeral sequence - 'cause somebody's got to kick the bucket! - even manages to be somewhat evocative and moving. The rest makes you long for senility to set in, but quick.
    • 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.
  9. By the time the film takes a glib turn into role-switching farce - as Muslims become Christians and Christians become Muslims - the overall toothlessness of the satire becomes damningly apparent.
  10. It's Goldthwait's first misstep, a serious one. He's simply not the filmmaker to mount a fierce takedown of Kardashian culture, thorough though his script's rage is.
  11. You can go to one of those sweaty, immersive outdoor music fests and get splattered with the mud and euphoria that always engulfs fans. Or you can cheap out and see this predictable rom-com-shot at the 2010 edition of Scotland's then-in-progress T in the Park­-and boggle at finding strangers in the audience more appealing than our main characters.
    • 45 Metascore
    • 40 Critic Score
    Uneasily poised between glib irony and earnest melodrama, Patricia Riggen's coming-of-age tale is as scattered as its manic pubescent protagonist.
    • 48 Metascore
    • 40 Critic Score
    Oddly enough, the film's best pro-tech argument is its look; shot on a consumer-grade digital camera, it's a testament to how elegantly framed low-budget projects can look these days.
  12. Filmmaker Gérald Hustache-Mathieu has fun recasting Monroevian moments and setting up parallels between the fromage-hawking hottie and the late silver-screen sex symbol - bring on the Miller, DiMaggio and JFK avatars.
  13. Some will call The Color Wheel daring. Others will remember that it takes more than desperate shocks to add substance to the sloppy diddlings of a dilettante.
  14. What's the word on the film debut of Rihanna, playing a sass-mouthed petty officer? Dreadful (ella, ella).
  15. It also serves to undercut fine performances by Connelly and Harris, whose choices are constantly destabilized by scripted swings between comedy and drama, realism and fantasy, genuine catharsis and indie-film ornamentation. Black's overactive melodrama is more than a representation of schizophrenia; it's the embodiment of it.
  16. If What to Expect represents the best tearjerking laugh-machine that Hollywood can birth, it's probably time to get those story ideas implanted in vitro.
  17. There's nothing strictly wrong with any of this, except for the fact that even a buttoned-down period piece like "Topsy-Turvy" feels sexier.
  18. Judging from Sánchez's Lovely Molly, he'd like to get lost in the trees again, but now knows the path too well.
  19. Their brotherly bickering may be a useful time killer until the new Arrested Development episodes drop, but it's ultimately foamy filler added to a frustratingly frothy film that says nothing about its subject.
  20. Cluzet and Sy nonetheless make for ingratiating foils; the extended opening sequence in which the duo outwits a pair of cops like a hell-raising Laurel and Hardy could be a stellar short comedy if it weren't married to the deadly self-serious shtick that follows.
  21. Despite a committed performance from Palminteri (ripping through scenes like an aged bulldog), Debbie Goodstein's loosely autobiographical drama is as nondescript as made-for-pennies independents come.
  22. If, as some critics have claimed, "The Cabin in the Woods" made the horror genre obsolete, someone forgot to tell screenwriter Oren Peli.
  23. This is mostly all reefer, no madness.
    • 42 Metascore
    • 40 Critic Score
    Though the fallout is utterly predictable, director Steve Rash at least brings an engaging fluidity to the high-energy sports scenes.

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