Time Out New York's Scores

  • Movies
For 2,765 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 Trouble Every Day
Lowest review score: 0 Vampires Suck
Score distribution:
2,765 movie reviews
  1. Fightville doesn't pummel you with outsider viewpoints - it doesn't seem to display much of a point of view at all.
  2. Given the months-long hype, what’s most bewildering about Sundance sensation Precious is its overall shrug-worthiness.
  3. 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.
  4. As its title suggests, this is more of a self-conscious attempt to court quirky cult-film status. Nice try.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. Rob Epstein and Jeffrey Friedman's mostly whiffed docudrama makes the influential poem by Allen Ginsberg (Franco) seem dull, ordinary, pedestrian instead of pioneering.
  15. A film that could have been memorably haunting is, sadly, all too forgettable
  16. Aside from a few inspired vistas and alien life-forms (the Road Runner–fast red planet dog Woola is sure to sell a bazillion action figures), John Carter is as deadly dull as its basso-voiced, beefcake slab of a star, Taylor Kitsch.
  17. Spacey is ever the pro, shilling Axle's absurd redemption and countenancing the likes of Johnny Knoxville and John Stamos as if a third Oscar were in the offing. Yet his female costars fare worse, forming an unfortunate collection of dismal, man-dependent stereotypes, from Belle's perma-pouting idealist to Heather Graham's breast-obsessed, sapphic-by-choice ballbuster.
  18. Zack Snyder's films have some of the best opening-credits sequences in cinema; the unfortunate thing is that there's always a movie after them.
  19. The fully committed Rush, at least, commands our constant attention, and no movie with a kookier-than-usual Ennio Morricone score (dig those staccato-chanting chorines!) could ever be a total waste of canvas.
  20. The film lacks any kind of human interest, relying instead on our inferred love of lengthy strategy sessions and displays of ruffled pride. When it comes to yakuza cinema, you can do better.
  21. Neither as subversively fun as last year’s megadestructive "Project X," nor as creative as "The Hangover" (on which these codirectors broke through as screenwriters), this further installment in the millennials-acting-badly genre serves as a distinctly average placeholder.
  22. If Merchants of Doubt ultimately proves that good data doesn’t often make for good drama, it’s only because this doc is such a hollow slog.
  23. 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.
  24. If Gregorini and Von Furstenberg's goal was to construct a cinematic Sunday Styles spread of the plaid-skirt-and-tie crowd, then kudos. As filmmakers, however, these two have some serious growing up of their own to do.
  25. The satire rarely stings, as first-time feature directors Declan Donnellan and Nick Ormerod give a polite Masterpiece Theatre gloss to this most impolite of tales.

Top Trailers