Time Out New York's Scores

  • Movies
For 2,541 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 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Incendies
Lowest review score: 0 Vampires Suck
Score distribution:
2,541 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. What's the word on the film debut of Rihanna, playing a sass-mouthed petty officer? Dreadful (ella, ella).
  8. 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.
  9. 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.
  10. 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.
  11. Judging from Sánchez's Lovely Molly, he'd like to get lost in the trees again, but now knows the path too well.
  12. 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.
  13. 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.
  14. 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.
  15. If, as some critics have claimed, "The Cabin in the Woods" made the horror genre obsolete, someone forgot to tell screenwriter Oren Peli.
  16. 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.
    • 46 Metascore
    • 40 Critic Score
    Codirector Ami Horowitz hogs the screen like a cut-rate Michael Moore, bringing a numbingly simplistic irony and smug self-satisfaction to his faux–rabble-rousing exposé.
  17. This is a man-versus-nature parable heavy on the sappy existentialism that's very much of our time. Call it Nicholas Sparks's The Grey.
    • 60 Metascore
    • 40 Critic Score
    Madagscar 3 is less interested in plucking the last bit of meat off the series's bones than with simply picking the lowest-hanging fruit.
  18. Gerwig is plenty charming, considering the rote stuff she has to work with. Yet this still feels like a real devolution - hopefully short-lived - after her distinctively eccentric turns in "Greenberg" and "Damsels in Distress."
  19. Only the mighty Fonda cuts through the claptrap; the rest is just a long, predictable trip.
  20. 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.
  21. As it is, this attempt at an Altmanesque ensemble piece feels a little dramatically flat even as it's dazzling your retinas.
  22. Becomes a clumsy gringo approximation of something else. In this case, it's the old respectable-man-obsessed-with-fallen-angel cliché, which Demy fils tweaks with broad melodramatic strokes and Freudian flotsam, as well as a complete lack of focus or storytelling chops.
  23. Irritated, you realize you've been watching an object that's all surface, no soul.
  24. The casting is spectacularly wrong, and even on its own scant merits, writer-director Lorene Scafaria's screenplay has little insight into apocalyptic licentiousness, barring a tart line or two.

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