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 Children of Paradise (1945)
Lowest review score: 0 Vampires Suck
Score distribution:
2,765 movie reviews
  1. Caan can’t seem to play up his strengths. He’s a raw talent who needs an editor for his scripts and a strong hand behind the camera guiding him. Mercy gives our guy neither.
  2. 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.
  3. Documentarian Jon Foy spent a decade following both the phenomenon and those who've tried cracking the code, and while his film offers little in the way of answers, it says volumes about delusional obsessives.
  4. Centrally, the title character remains an impressive piece of propwork, and Leonetti's restraint in never animating it (à la Chucky) is the only thing worth appreciating here.
    • 35 Metascore
    • 40 Critic Score
    The scam is so crazy, it just might work…for a throwaway episode of "Law & Order."
  5. The performance sequences feel intimate and exhilarating-but in the end, Li's journey is compelling only when he's onstage.
    • 41 Metascore
    • 40 Critic Score
    It’s in these parent-free gaps that the film becomes less a vehicle for Paquin or helmer Betz (too benign to critically sketch her criminal mother), and more one for Liberato.
  6. By the time Nick decides to have an emotionally purgative yard sale-the primary holdover from the short story-all the adult ambiguities have been traded in for facile Indiewood profundities.
  7. This isn't the NASCAR-fellating cash grab that is the Cars franchise, but it's still Pixar on preachy autopilot.
  8. The repeated sight of people watching video monitors or communicating with others via laptops becomes a stilted, gimmicky affectation, and there are only so many times you can watch a camera panning and zooming over still photos before your tolerance for the Ken Burns effect reaches its limit.
    • 71 Metascore
    • 40 Critic Score
    Emma Davie and Morag McKinnon’s doc walks the line between a deathwatch film and an uplifting one, rather than simply rubbing the viewer’s nose in the horror of mortality.
  9. As billion-dollar Hollywood franchises go, this is one of the drawn-out dumbest. The stake through the heart comes not a moment too soon.
  10. All the put-upon boorishness of an office drone (Bateman), a chemical-plant manager (Sudeikis) and their sexually harassed buddy (Day) might be forgivable, were Horrible Bosses actually funny instead of sporadically amusing and desperately vulgar.
  11. Marvel at the desperate spectacle of three comic leads-Aniston, Bateman and Watchmen's Patrick Wilson as the original donor-being outperformed by the wide-eyed Robinson, a quiet collector of silences. These stars will never be as young as he is; you wish they'd all stop trying.
  12. There's no sense of the oppression France felt under Nazi rule. It's all just play-acting in period-specific attire. You can almost hear the AD calling lunch.
  13. The badly miscalculated meat of the film is an endless parade of to-camera addresses by performers such as Lindsay Lohan, Viola Davis and Uma Thurman, all reading clumsily from Monroe's recently discovered letters and journal entries as if it were final-exam time at the Actors Studio.
  14. A lot of history gets horned into this undeniably inspirational parable, though slick execution and simplistic storytelling make it a lesson suitable only for easily impressed elementary-school students.
  15. Throw in some quirky interludes of a Norwegian quartet singing old American spirituals every so often, and you've got something that's truly messy, messy.
  16. Niccol's attempts at satire are toothless.
  17. Credit the appealingly paired McAdams and Tatum for making this Valentine's-month hokum watchable.
    • 49 Metascore
    • 40 Critic Score
    Any analysis of her philanthropy or character is traded for blind idol worship; only intermittent footage of the subject interacting with the natural environments she hopes to save (hippo habitats, arctic snowscapes) manages to sidestep bland reverence.
    • 44 Metascore
    • 40 Critic Score
    Brings nothing new to the coming-of-age dance film. Worse, director Carmen Marron seems as bored with the movie's protagonist as we are.
  18. The better actors — Kevin Costner, chiefly, as the adoptive Earth father — strain to supply warmth, but mostly, the minutes stretch into great expanses of blahness, much of them filled with Transformers-grade skyscraper snapping and bloodless catastrophe.
  19. This iron lady of cinema deserves better.
  20. A typically lax late-period Ferrara work, far from the glories of "King of New York."
    • 35 Metascore
    • 40 Critic Score
    The late Douglas Adams summed up Earth as “mostly harmless,” a description that also applies to this eminently tolerable animated time-filler.
  21. A dumb comedy out to prove its genre-defying smarts--the title is both an onscreen-supported reference to Walt Whitman and a wacky-tobaccy allusion--Leaves of Grass is a mostly mirthless affair; not even the sight of Edward Norton portraying twins tickles as it should.
  22. 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.
    • 38 Metascore
    • 40 Critic Score
    Writer, director and star Fuller posits a dichotomy between belief and scientific rationality, only to gull us into accepting the former.
  23. The promise Dumont once showed has ossified into unholy shtick.

Top Trailers