Time Out New York's Scores

  • Movies
For 3,015 reviews, this publication has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% 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 The Headless Woman
Lowest review score: 0 Vampires Suck
Score distribution:
3015 movie reviews
  1. 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.
  2. 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.
  3. Moodysson hasn’t exactly descended to "Babel"-level pabulum with Mammoth, his first foray into English; these characters are too fascinatingly thorny, and he still has a supple way with a pulse-throbbing dance tune.
  4. Modest and affecting, it’s a portrait of the possibility of finding peace, contentment and self through both music and spirituality.
  5. The film's dogged repetitions regarding Nannerl's real-life raw deal dilute the reparative nature of the story after a while, and not even the movie's grainy, retro–art-cinema look can keep viewers from gradually tuning out.
  6. Gil's alternative history gets one thing bang-on right: If Butch were to live into his senior days, he'd absolutely have to be played by Shepard. Wrinkled, leathery and densely carpeted in a salt-and-pepper beard, the 67-year-old playwright and actor still exudes intellectual mischief and hard-stare sex appeal; his self-styled ruggedness is a perfect match for an infamous gringo living incognito.
  7. Creepy doesn't begin to describe these masterworks of control freakery, nor does beautiful - they look as if they're glowing from the inside out, even as Crewdson's scenes of furtive common people make viewers feel like voyeurs.
  8. As Holocaust-era movies go (Chastain’s maternal saint begins to secretly hide Jews in her cellar), this one is neither too pretty nor too ugly—which might doom it to a particularly banal shade of detachment.
  9. The Good Heart dilutes Cox’s gravitas with quirk.
    • 56 Metascore
    • 60 Critic Score
    Writer-director Nathan Morlando leeches every last bit of color from the frame, until the world around Boyd looks so dreary and drab you can almost understand his desire to liven the place up with a little theatrical mayhem.
  10. Despite its creator’s puckish charm, the movie occasionally sputters and detours down dead ends. Still, the promise on display is impressive; consider the film a calling card from someone to keep a very close eye on.
  11. Expertly conjured atmosphere only gets Muschietti so far, but there's enough genuine promise here that you're willing to cut this talented newcomer some slack.
  12. When a movie is this predicated on aping the Coen brothers (effectively, it should be added, in fits and starts), surprise won't be its strong suit.
  13. Unlike Romero’s film, what’s missing is a trenchant sense of connection to our historical moment.
  14. The documentary feels preprogrammed when it could have been a real-life Black Swan.
  15. It hurts that most of the jokes fall short of their potential, especially because Headland refuses to milk easy laughs by winking at genre clichés, but her decision to play things straight helps clarify a truth at the heart of movies like this.
    • 59 Metascore
    • 60 Critic Score
    The script’s sporadic silliness makes every plot turn questionable; how the talent deftly negotiates such goofiness makes the film near-impossible to resist.
    • 50 Metascore
    • 60 Critic Score
    The "Pretty Woman"–style final act is fairly creepy, leaving a sour aftertaste to this otherwise sweet, if insubstantial, confection.
  16. Marvin Kren’s enjoyable if ephemeral horror movie gets by for a while on its dopey premise.
  17. A fresh twist on a familiar fog-of-war story.
  18. Like so many Doors chroniclers, DiCillo can’t help but fall under the singer’s spell; it’s understandable, but frustrating.
  19. Anyone curious about the man behind the lens may find this doc, like its subject, frustratingly opaque and out of reach. Those interested in witnessing a true NYC eccentric document everyday-people city life one outfit at a time, however, will feel like this has been tailor-made.
  20. Beach Rats could have explored that ethical quandary with more depth; instead it settles for something blocked, oblique and fascinating.
  21. Cage is not quite Aguirre or Fitzcarraldo in the Big Easy. But his performance hits all the right mythopoetic beats, rising above the thin script and late-night-cable aesthetic.
  22. The doc dutifully allows for these varying viewpoints, but in a mode that’s not especially captivating, despite a guitar score by Brokeback Mountain’s Gustavo Santaolalla.
  23. Though play with fire she might, couldn't screenwriter Jonas Frykberg have played with a little button called DELETE? There's no reason why a two-hour movie should feel like three, nor require quite so much fidelity to Larsson's plot curlicues.
  24. There's too much coyness about the implicit romance across the table; several other tensions concerning female independence go mostly unexplored. But the film's quiet focus on a woman's anxiety is not unwelcome.
  25. The movie misses the Hughes sensitive-raunch sweet spot, though a game supporting cast hits bull's-eyes on lesser targets.
  26. If the overall effect of Nebraska’s father-son bonding and attention-must-be-paid pathos doesn’t quite have the zing of the filmmaker’s best work, he’s certainly got an ace in the hole.

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