Time Out New York's Scores

  • Movies
For 2,962 reviews, this publication has graded:
  • 34% higher than the average critic
  • 2% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 35 Shots of Rum
Lowest review score: 0 Vampires Suck
Score distribution:
2962 movie reviews
    • 66 Metascore
    • 60 Critic Score
    The film's depiction of [Clayman's] reality is rendered with cinematic brio and forceful clarity.
  1. The divas rule in this glossy musical.
  2. It's fascinating to be so close to a then-sitting head of state as he negotiates for his homeland's survival, and the news that Nasheed was recently deposed in a coup by Gayoom loyalists makes the hard-won victories he did secure all the more poignant.
  3. Old-school intrigue, informants and assassins, life-or-death pursuits in crowded places, characters who are adults and do not wear capes or pilot robots: This is pretty much what any filmgoer over the age of 13 pines for in the dog days of summer, so this courtroom melodrama/surveillance thriller should be manna.
  4. This is not a choice made lightly by anyone involved, but the admirable, multilayered toughness of these sequences is unfortunately weakened by the filmmakers’ saccharine touch whenever they explore the doctors’ personal lives.
  5. Executive-produced by Steven Spielberg, the movie's special effects are seamless and far more cleanly cut than any of Michael Bay's hash. But the element that lingers longest is a subtle strand - also woven into last week's "Take Shelter" - of recessionary anxiety.
  6. Miners' is tiresome and scattershot.
  7. For all its episodic, gleeful inappropriateness, the movie Klown most resembles - not that it tries to or anything - is Alexander Payne's half-soused flight from maturity, "Sideways."
  8. Rockwell’s performance is impressively flinty, as is the rest of the cast (including William H. Macy delivering some twitchy character work), and the dialogue sparkles with brilliantly colorful mountain-man slang. Despite its byzantine narrative, the film remains never less than absorbing, as the walls slowly close in on this good-hearted but ultimately flawed protagonist.
  9. Philip Seymour Hoffman and a ratlike Paul Giamatti are the competing spin doctors - you wish the whole movie were about them. And Marisa Tomei brings a hungry sense of scoopmaking to the (unavoidable?) role of a New York Times journalist who's seen it all.
  10. Notably undisciplined for a Pixar plot, it feels like a lot of heavy lifting to get to the same old lessons about kinship and finding your clan.
  11. Every time the narrative's underworld schnooks and low-level lowlifes edge their way out of the periphery, a sense of snorting impatience takes over. This is Jacky's story, and when he's grabbing Bullhead by the horns, you don't want him to let go.
  12. Consider the movie a testament to Rahim's screen presence. If nothing else, Free Men proves that the can't-take-your-eyes-off-him charisma the Franco-Algerian actor displayed in Jacques Audiard's "A Prophet" was no fluke.
  13. The subjects - a husband and wife struggling to make ends meet, mostly for the well-being of their infant daughter - are eminently engaging.
  14. Superb limb-erasing effects and lush cinematography are bonuses, though not so much the cloying presence of American Idol's Carrie Underwood.
  15. It’s gratifying to see Eisenberg move past nerdy-cutie parts; his slim shoulders, it seems, are capable of handling more than Michael Cera’s leftovers.
  16. Inventive yet exhausting tale of two circus clowns.
  17. An adaptation of a short story from David Sedaris’s best-selling Naked collection, C.O.G. (short for “Child of God”) struggles from the outset to retain the snap of the NPR favorite’s hyperbolic humor while also grounding it in authenticity—a tonal disconnect that nonetheless serves to destabilize a potentially predictable coming-of-age tale.
  18. It’s always fun to watch scaly, skyscraper-size behemoths lay waste to civilization, but a bit more human drama wouldn’t have gone amiss.
  19. Horse Money is an ordeal, but you’ll be glad that Costa was there to help Ventura’s words find their way through the cracks.
  20. Amigo's penchant for polemics keeps upsetting any semblance of balance; how can anyone hear the grace notes when the soapboxing is so deafening?
  21. Subtlety is not this movie's strong suit; even the terrific Chemical Brothers score pounds your nerves a bit more than it should.
  22. It all feels pretty familiar: the tortured genius, the younger woman, the plot taking a suffocating turn, murder as an existential debate, the world increasingly closing in on our antihero. But there’s something sloppy and sluggish about Irrational Man, even by Allen’s uneven standards.
    • 65 Metascore
    • 60 Critic Score
    Considering its incendiary subject, Curry's approach is disarmingly tame; perhaps reframing the debate in less volatile terms is some kind of lukewarm triumph.
  23. The whole second half suggests a new way of storytelling-like one of those Wes Anderson montages done by an obsessive fan of Hatari! To judge from Tabu's first hour, pacing is not Gomes's strong suit, yet the filmmaker who emerges might win you over.
  24. Somewhat underwhelming sequel.
    • 51 Metascore
    • 60 Critic Score
    Surprisingly entertaining, thanks to the cast's collective chemistry and the film's balance of appealing elements for both sides of the gender divide.
  25. They have little feel for the technical side of filmmaking; the imagery is flat and the editing amateurish. Most shots seem held for a beat too long or too short, wreaking havoc with the comic rhythm. Nonetheless, McCarthy and Falcone’s attempts to make Tammy more flesh-and-blood than a figure of fun are often poignant.
  26. An attempt to detail the plight of North Koreans in their new homeland, The Journals of Musan doesn't soft-pedal the hardship; Park, however, apparently felt obligated to stack the deck against the film's passive protagonist to a ridiculous degree.
    • 35 Metascore
    • 60 Critic Score
    More of a formulaic Katherine Heigl joint than a femcentric "High Fidelity," this breezy challenge to post-Cosmopolitan gender politics boasts little in the way of surprises but plenty of offbeat charm from its daffy lead.

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