Time Out New York's Scores

  • Movies
For 2,626 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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Trip
Lowest review score: 0 Vampires Suck
Score distribution:
2,626 movie reviews
  1. Much cut-rate melodrama ensues, none of it particularly painful to watch, until a ridiculously redemptive finale negates almost all of the preceding dramatic tension and resurrects a cloying Richard Marx chestnut to boot.
  2. Like all advertisements, this scripted movie is a perfect fantasy: expertly coordinated, simplistic (the bad guys like yachts and bikini girls while our heroes have loving families) and more than a little scary.
  3. Sadly, most of the film's dull edges have to do with De Niro, who is clearly in rest-on-his-laurels mode; at his worst, he approaches radioactive, Robin Williams levels of bathos, as when Jonathan - roaring like a bush-league Lear - is banned from the shelter for bad behavior.
  4. Boy
    Boy needn't be pop-culturally fluent to be relatable; believable human characterizations would have sufficed.
  5. Unfortunately, he's retained his previous work's touristy mondo italiano! vibe, all whimsical tunes and postcard scenery, while piling on enough ogling shots of nubile young women to make Hugh Hefner feel uncomfortable.
  6. The movie's multitasking creator seems to have bitten off more then she can chew. Her friends should have advised "baby steps."
  7. Only Kristin Scott Thomas channeling "In the Loop's" Malcolm Tucker offers a spark; the rest is simply hokum designed to land overly sentimental suckers hook, line and sinker.
  8. Unless you really dig "Glee"-level displays of high-school drama geekery, you and your date may want to quickly exeunt.
  9. 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.
    • 26 Metascore
    • 40 Critic Score
    Before this star vehicle devolves into a soggy New Age sermon, Murphy's manic pantomiming offers a few faint flickers of the mad comic genius from 1987's "Raw".
    • 53 Metascore
    • 40 Critic Score
    It's a rebound-romance movie that's simplistic but sweet, an uncomplicated cinematic bonbon. It'll only take a few quick bites, however, before you'll be ready to move on to something meatier.
  10. The movie is one big scream, clichéd and hardly credible as an oblique call to civility.
  11. This writer-director still has some evolving to do.
    • 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.
  12. Let's not make 4:44 Last Day on Earth sound cooler than it is. Compared with Lars von Trier's histrionically doomed "Melancholia," the film lacks any serious attempt to grapple with mortality.
    • 38 Metascore
    • 40 Critic Score
    Hall's puppy-dog charisma holds up under the strain, but it isn't nearly enough to keep this messy midlife-crisis dramedy afloat. A little of this Bliss goes a long way.
  13. Fresnadillo, working with screenwriters Nicolás Casariego and Jaime Marques, might be angling for the same YA fantasy as "Pan's Labyrinth," but they've forgotten about that film's violent underpinnings, a mistake that leaches their movie of suspense.
  14. Close to a parody of a French sex drama - complete with bored, bourgie bed-swappers and a dull sense of amoral sophistication - this autopiloted import does no favors to the legacies of Truffaut and Godard.
  15. Green was meant for quick-witted comedy. Unfortunately, she's becoming a mainstay of painfully sincere slogs.
    • 40 Metascore
    • 40 Critic Score
    The fact that it's far more concerned with burnishing an overly fetishized lit movement than serving as an in-depth exploration of the hotel's inhabitants may make you want to check out early.
  16. All of them slog through countless boring sword-and-sandal skirmishes, none of which feel remotely suspenseful, until the hugeness of it all becomes a mildly passable joke.
  17. The satire becomes more scattershot and strangely cuddlesome (didja know sequestered holy men enjoy socializing and playing sports, just like us?), while the usually great Piccoli-saddled with a ridiculously contrived failed-actor backstory-comes off like an unholy mix of Gérard Depardieu and Robin Williams at their sad-puppiest. That's some cinematic blasphemy, Moretti.
  18. Despite toggling among the three characters' story lines, the film is barely concerned with the who, what or where of the incidents, much less a deeper why. It simply wants to milk this real-life example of courage (and chaos) under fire for multiplex thrills, reducing everything to a cheap adrenaline rush set to a pulsing soundtrack.
    • 48 Metascore
    • 40 Critic Score
    The movie spends almost as much time allowing the filmmaker, playing a progressive-minded teacher, to push his students to be better citizens by interviewing homeless people on skid row (!) as it does watching the younger generation trying to get some. It's an uneasy mixture of crude yukking and mixed-message uplift that satisfies on neither level.
    • 59 Metascore
    • 40 Critic Score
    Like the myriad dangers threatening the earth, the film is simply too unwieldy, a sprawling mass of ideas that are dutifully checked off and then given only superficial explanations in lieu of insightful explorations.
  19. Who would have thought that the man behind such wackadoo fantasies as "The Professional" and "The Fifth Element" was capable of being so bloody boring?
  20. Schemel is a major rock & roll survivor; Hit So Hard is a minor rockumentary at best, as well as a seriously missed opportunity.
    • 65 Metascore
    • 40 Critic Score
    In allowing Dreier to shape his own narrative, too many lame excuses are allowed to pass, as the financial schemer spins his own story dangerously close to self-pity.
  21. 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.
  22. Question: What's the only thing worse than doing an unfaithful film adaptation of a Nicholas Sparks novel? Answer: Doing a completely faithful one.

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