Time Out New York's Scores

  • Movies
For 2,929 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: 56
Highest review score: 100 Fifi Howls from Happiness
Lowest review score: 0 Vampires Suck
Score distribution:
2929 movie reviews
  1. A completely unnecessary sequel, plays a lot like "The Godfather, Part III"-lush, self-parodic and cut adrift from urgency.
  2. Meek's Cutoff has found its passionate defenders, those who admire it almost because of its meandering, heavily politicized nature. Yet you might try it-and try it again-and still only grab a handful of dust.
  3. There’s no real pleasure in any of the musical performances. And when married to the scenes exploring Hendrix’s tumultuous personal life—particularly his semi-abusive relationship with long-term girlfriend Kathy Etchingham (Hayley Atwell)—you’re left with a monotonously grim portrait that’s more rewarding in theory than execution.
  4. Sinister has so much going for it - adult psychology, a great bitchfest of a marital meltdown - that you wince when it finally makes some rather dull choices involving the supernatural.
  5. The doc’s breakout star is Vogue creative director Grace Coddington, a former model whose plain appearance (the end result of a horrible car accident) and frumpy clothing belie her genius for fashion. She counters her boss every chance she can get and provides the film with a much-needed emotional center.
  6. A train station finale is textbook tearjerker territory, but it still teems with exquisite sorrow.
  7. Carell and Wiig make a splendid vocal pair — Nick and Nora Charles with ice guns and lipstick Tasers.
  8. Knuckleheaded though this faculty-member-turned-MMA-fighter comedy is, there's no denying the plot's lefty credentials, snuck in like Raisinets among the popcorn.
  9. The result is neither blind idolatry nor a definitive portrait; just a major missed opportunity content to loiter in the middle of the road.
  10. Depending on your POV, it's either the ne plus ultra of Hollywood calculation or a comedy simply intent on pushing its crassness to the point of surrealism.
  11. The intention outweighs the execution, though there are still pleasures to be had.
  12. Entertainingly, the klezmer-scored Deli Man charts the history of urban eateries, nowhere near as prominent as they were during the early 20th century but still a vital link to Yiddish-accented comforts.
  13. For all his brilliance with choreography, Woo is flummoxed by the thousands of actual human extras, though there’s no denying his commitment to the finer points of battle tactics (yawn).
  14. Packs a forceful punch.
  15. Though its blanketed voiceover narration can be too on-the-nose—it’s a metaphor, we get it—the film packs a psychic punch, thanks to Gedeck’s spectrally wearied face.
    • 79 Metascore
    • 60 Critic Score
    The feverish intensity of enthusiastic birdwatchers may seem better suited for a Christopher Guest movie, but director Jeffrey Kimball's lush cinematography makes Central Park's beauty no laughing matter.
  16. The doc makes a hairpin turn into sentiment, as the realities of immigration law impose themselves on Randi’s private relationship with his Venezuelan lover of 25 years. We already know that professional charlatans run from their pasts. Where they head to, though, is the better question: For a while, An Honest Liar brings a captivating crusader into view.
    • 56 Metascore
    • 60 Critic Score
    The overall hipness is a little too forced--it’s damn funny when it could’ve been poignant.
  17. There's no Deep Throat this time, but Tom Wilkinson does his best Ben Bradlee as a hawkish legal mentor, while Kevin Kline coos menacingly as Lincoln's Nixonian war secretary, Edwin Stanton, a man seeking to hang prisoners out of political expediency. It all seems a little forced.
  18. There’s a fine line between modesty and inconsequence, and this low-key, primarily improvised feature from mumblecore staple Joe Swanberg mostly blurs the divide.
  19. You know the money-over-morality argument will eventually tilt toward righteousness, yet the film's turn toward charcoal-sketch notions of good and evil only fuels a simplistic view of historical tragedy in the worst sort of way.
  20. The plentiful pop-doc touches ensure that this wake-up call won't put you to sleep, even if the ratio of spoonfuls of sugar to medicine occasionally seems skewed.
  21. So many blockbuster movies are impersonal, micromanaged hashes that Jack, with its bare minimum of craft and commitment, comparatively comes off like a diamond in the rough.
  22. John Travolta breaks the braggadocio meter in the latest tightly wound actioner from "Taken’s" Pierre Morel.
  23. Here's the thing: We enjoy a good mindf--- lark as much as the next filmgoer, but such fluid tomfoolery eventually has to add up to something, and The Double Hour ultimately doesn't.
  24. Yet it still works like gangbusters - tears will be stifled by the end of the sibling vs. sibling finale - and most of the credit should go to Hardy, Nolte and Edgerton.
  25. This one belongs to the women: As a gold-digging mistress, Isla Fisher does half-smart expertly, while Jennifer Aniston demonstrates her underrated timing as a wealthy kidnapping victim turned confidante.
  26. But take the puppet off his arm and he seems somehow vague and incomplete, like the Wizard of Oz without his curtain.
  27. Still, the problem that often fells these documentaries - humorlessness - has been licked: Jack Black makes an exuberant cameo pitching recycled toilet water (his fake brand is called Porcelain Springs). Sound gross? Open wide, because it's on the menu for all of us.
  28. These scenes make you wish the rest of the movie had similar bite, but Gibney tends toward that dutiful doc style that mixes talking heads and archival clips into a flavorless stew—a bland complement to Fela’s zesty on- and offstage presence.

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