Time Out New York's Scores

  • Movies
For 2,701 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 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Russian Ark
Lowest review score: 0 Vampires Suck
Score distribution:
2,701 movie reviews
  1. Several quick-witted touches-such as a hilarious nod to Depp's role in "Fear and Loathing in Las Vegas"-can't make up for Gore Verbinski's leaden direction of this digitally animated feature.
  2. Jig
    Class, gender and ethnic issues get pushed to the sidelines in favor of rote who-will-win suspense; all that finger-crossing and Lucky Charms flavoring, however, doesn't keep Jig from being just another in a long line of nonfiction soft-shoe routines.
  3. Kudos to Evans for making up for the galling lack of gay African-American screen representation while delivering hot-body eroticism, but reducing complex relationship issues to a typical indie-flick blatherathon—complete with performances of varying quality and stilted dialogue—isn’t helping anyone.
  4. The director has made disappointing films before — a more generous word might be transitional — but never one so slight.
  5. Boy
    Boy needn't be pop-culturally fluent to be relatable; believable human characterizations would have sufficed.
  6. There's only one thing worse than a leaden moral fable that tackles issues of forgiveness with sledgehammer contrivances, and that's one that attempts to mask its manipulative corniness with an air of trumped-up gravity.
  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.
    • 47 Metascore
    • 40 Critic Score
    Mirthless, episodic fantasy saga.
  8. Bibliophiles, librarians and graduate students may swoon at the sight of the author's signature grotesquerie.
  9. When the sing-song Jones and beatifically smiling Streep are allowed to carry the dramatic weight, you can see the raw, tough-love film that Hope Springs wants to be - until Frankel starts trying to be lighthearted and cute, at which point you see the movie's real troubled marriage in full bloom.
  10. The young actors' vacant-eyed brazenness may be true to life, but there's a whiff of exploitation, matched by the script's disinterest in exploring any friction that isn't skin on skin.
  11. The movie amounts to little more than Marky Mark's South American Vacation.
  12. Listen to the rhythms of "Broadcast News" - from Holly Hunter's daily crying jags to William Hurt's cock-of-the walk patter - and you'll hear how romantic comedy can approach an art form, a roundelay that requires the ear of a conductor. How Do You Know, James L. Brooks's latest, has such tone-deaf passages that it feels made by a totally different man.
  13. Unless you really dig "Glee"-level displays of high-school drama geekery, you and your date may want to quickly exeunt.
  14. Viewers who can't get enough of ESPN's "30 for 30" docs will lap up this dual portrait.
    • 34 Metascore
    • 40 Critic Score
    Any residual charm evaporates when the third-act dramatics start piling up and a must-be-seen-to-be-believed final twist redefines the word shameless, even by Sparksville standards.
  15. Big on emotional highs but skimpy on details, Dressed rallies behind the orphan but fails to reveal the artist.
  16. Lessons are learned, bullies get their comeuppance, and every Wonder Years plot device is trotted out for maximum and-I-was-never-the-same-again nostalgia.
  17. Unfortunately, Truffaut fell into a pit of awkwardness on the project; editingwise, he's hardly in the league of Hitchcock, his sequences rushing ahead, his ironies too obvious. The Bride Wore Black only makes you yearn for better imitators like Brian De Palma. (Unlikely agreement came from Truffaut himself, ever the film critic, who hated his own movie.)
  18. For a few brief moments, the film becomes something close to Greek mythology, as opposed to graphic-novel imitator. What a feeling!
  19. In a word: Ugh.
    • 43 Metascore
    • 40 Critic Score
    Burdened with a bevy of unlikely plot twists, this is less a movie sequel than the latest installment in a big-screen soap opera.
  20. The lesson here, apparently, is that driven women just need to lighten up and stop being selfish - a message that really does feel backward.
  21. The filmmaker throws in a strangely irrelevant twist before he’s through, but despite a lavish dose of gothic style, The Condemned’s trek toward absolution is pretty familiar.
  22. You keep waiting for the movie to grow a brain, for that random attractive neighbor (Wilde) to turn out to be a decoy, for Banks herself to become suspect. Nope. The Next Three Days morphs into "The Fugitive" on steroids.
  23. American Casino tries to connect the big picture regarding a major problem to a human pulse and comes up lacking on both sides. It’s a gamble that simply doesn’t pay off
    • 56 Metascore
    • 40 Critic Score
    This wisecracking saga of tween angst largely avoids the gimmicky saccharine aftertaste that's typical of the genre.
  24. By the time this modest microindie noir starts laying its cards on the table, your attention will have already folded.
  25. You can probably skip this one and still sleep soundly at night.
  26. 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.

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