Time Out New York's Scores

  • Movies
For 2,653 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 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Attack the Block
Lowest review score: 0 Vampires Suck
Score distribution:
2,653 movie reviews
  1. The title character himself is also an unimpressive digital creation-Rogen might as well be performing his stoner-from-another-world shtick during a wee-hours movieoke session.
  2. What is confusing is why director Catherine Corsini thinks anyone should invest in a po-faced bourgie drama with so little to offer.
  3. False moments far outweigh the genuine ones, be it smarmy Dan’s indisputable genius (he’s such a stubble-sporting rebel, he refuses to wear suits) or the bogus anticorporate finale that leaves an especially slick aftertaste.
  4. Had Patricia Highsmith's Tom Ripley accidentally weaseled his way onto the set of E.R., it might have played out something like Lance Daly's medical-drama-cum-upward-mobility-thriller about a hospital's new resident (and resident sociopath).
    • 38 Metascore
    • 40 Critic Score
    It says a lot that the grossest moment involves a character flossing—no gag, just flossing. Likewise, the candy stuck in your teeth will be the only thing that lingers after the credits roll.
  5. The main flaw — twirling farm girls and grunting oxen aside — is an utter lack of insight into the future leader’s character.
  6. There's a secret weapon embedded within The Watch, however, and his name is Richard Ayoade.
    • 63 Metascore
    • 40 Critic Score
    The documentary soon becomes just a chronologically structured update of continuing progress, one that functions like a mildly engaging but generally inconclusive "Time" magazine feature. Anybody throwing the word revenge around right now is being a tad premature.
    • 80 Metascore
    • 40 Critic Score
    Berlinger and Sinofksy merely suggested Hobbs might be responsible for the crime; Berg goes in for the kill, inconclusive evidence and docu-ethics be damned. The queasy certainty with which the filmmaker jumps to her conclusions, however, is all too reminiscent of the original prosecutors' zeal. It's hard to imagine how someone could study this case for so long and yet miss its most critical lesson.
  7. The thought behind this body-splattering nostalgia trip is unformed and stagnant.
  8. The filmmaker’s second feature is an unfortunate sophomore slump, an abrasive and opaque artist-in-crisis story that feels protracted at barely 80 minutes.
  9. Muskets and swords are a bit old-fashioned for the director of "Resident Evil" - Paul W.S. Anderson has added flying battleships and elaborate diamond heists. (With material as shopworn as this, an anachronizing approach seems as valid as any.)
  10. It's supremely annoying to see the ups and downs of romance reduced to archer-than-arch line readings and bloodless mortal kombat. What's more frustrating is that the film, adapted from Bryan Lee O'Malley's popular comic, is an endless visual delight.
    • 33 Metascore
    • 40 Critic Score
    It's unclear what drew the likes of Billy Bob Thornton, Eva Longoria and Andre Braugher to this tepid grindhouse retread, but at least they liven up the proceedings whenever they're onscreen.
  11. It takes more than a few good actors playing bad apples to sustain such familiar romps through regurgitated material. There’s no bounty to be plucked from Perrier’s Bounty. The treasure chest has long since been emptied.
  12. Wah Do Dem simply mopes along before aimlessly stumbling to a halt.
  13. You’re probably better off heading to an actual watering hole than patronizing Douglas Tirola’s humdrum doc on the art of the cocktail.
    • 28 Metascore
    • 40 Critic Score
    Director Max Mayer doesn’t find a way to make the ritual traumas of adolescence feel new again.
  14. Neither the film’s main players nor its random period spoofery has any personality.
  15. Everything from the script to the film’s score seems stock, and echoes of past victories--Eyre’s dissection of infidelity in "Notes on a Scandal," Neeson and Linney’s chemistry in "Kinsey"--only remind you of what these talents are capable of when the stars actually align.
  16. Given that Sarandon played this same role so sublimely before in "Moonlight Mile," her devolution into theatrical rending of garments and gnashing of teeth is particularly disappointing, but no one--not Brosnan’s shell-shocked–by-numbers patriarch nor Mulligan’s wide-eyed waif--comes out of this steroidal pity party unscathed.
  17. If this is what passes for contemporary art terrorism, we’ll opt instead for something truly subversive--like genuine art
    • 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.
  18. But make no mistake: As a movie, it's Mystery Science Theater 3000 bad: atrocious acting, amateurish camerawork and a hackneyed story line all make for one painful slog.
  19. It's all too much and not enough—a succession of disparate, can-you-top-this episodes inelegantly piling up like skidding cars on a freeway. And that's not even taking into account the action scenes. Lord, those action scenes: Monotonous, loud and relentless, they're a punishing example of the self-satisfied, digitally augmented ephemera that typifies modern Hollywood moviemaking, and House Bruckheimer in particular.
  20. This is a superhero movie that feels like it might have been made by anyone and no one at the same time, simply space-filler before the next big team-up movie.
  21. Reducing an influential genius to a bohemian Zelig with a firearm fetish misses the forest for the flaming metal trees; in Leyser's biographical interzone, the superficial trumps the truly subversive.
  22. Lone Scherfig directs it all as if it were a breezy lark, so a third-act tonal shift makes for an incongruous, excessively moralistic fit with everything that’s preceded. Most insulting, though, is the way in which the climactic passages miraculously tidy up every frayed edge of Jenny’s life.
    • 48 Metascore
    • 40 Critic Score
    We see a storybook landscape enchant the pair, but we never feel it.
    • 51 Metascore
    • 40 Critic Score
    This is merely a vanity project that shamelessly plugs Roitfeld’s new stateside brand.

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