Time Out New York's Scores

  • Movies
For 2,972 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 6.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 The Trip
Lowest review score: 0 Vampires Suck
Score distribution:
2972 movie reviews
  1. When Sarah's Key leans into the horror (as it should), it's harrowing. Alas, that's only half the time.
    • 60 Metascore
    • 60 Critic Score
    Apart from the disastrously miscast Deschanel's dithering switch-hitter, the film's extended clan of uptight urbanites rings true - though their course-corrections don't.
    • 69 Metascore
    • 60 Critic Score
    Draws on archival footage and firsthand accounts from both players and outside observers to reveal the complex interaction of politics and athletics that colored the Euro-on-Euro competition.
  2. What really matters is seeing these pretty people get put through the gory wringer, and once the unholy spirit comes calling, Evil Dead more than delivers.
  3. Both de Léan and Storoge give you peeks at the genuine anguish lurking underneath the characters' narcissistic bluffing and porno posturing, even if the script drowns their best moments in verbosity.
    • 53 Metascore
    • 60 Critic Score
    Despite the film's odd assembly of talking heads (Koufax, sure, but Ron Howard?) and narrow scope that rarely addresses how a first-generation community sought a new-world identity via knuckleballs, Miller's survey is a breezy compendium of fun facts and colorful figures.
  4. These ragtag rebels exude an infectious determination, and while director Dan Stone fails in the adrenaline department, he succeeds in bringing home a memorable portrait of resilience.
    • tbd Metascore
    • 60 Critic Score
    It’s an unnecessarily quirky affair, with collages, archival footage and interviews in extreme close-up, which--perhaps intentionally--make it seem like an experimental ’70s throwback.
  5. Robert Greene's documentary captures so many wonderfully delicate, private moments in Kati's life that it seems churlish to wish the film said more about what it's actually like to be a young woman today.
  6. As this engaging, if rote, doc points out, the name Eames, much like Victorian, now defines the style of an era. Yet how many of us knew that the industrial designers behind those midcentury molded mod chairs were an eccentric married team?
  7. There's not much beyond all the fawning, but the effusively talented Channing more than deserves the gush.
  8. People who like their comedies pitch black (we're talking midnight, no stars or moon) should get a kick out of the tale of Steven Russell (Carrey).
    • 64 Metascore
    • 60 Critic Score
    There are sweet moments and callbacks to "L’Auberge," including a neat trick in which we see snippets from all three films in the credits, but ultimately Puzzle lacks the magic of its predecessors.
  9. Ai is a great subject for a documentary, and his charismatic certitude helps to offset Klayman's unfortunate inexperience behind the camera.
  10. West holds your interest with material that should feel like a rip-off of The Shining. If this is mere placeholding until something more ambitious comes along for the rising director, it'll do.
  11. Though the tale demands a darker outcome, the director disappointingly goes the Mouse House happy-ending route with a reprise of the original short film's finale - one that somehow plays with even more cringeworthy sentimentality.
  12. The jarring juxtapositions only heighten the enigmatic air of the film's subject; even when he's right in front of us, he seems to be plotting his next wily act.
  13. It's one thing to call a film about homophobia and human rights Any Day Now; it's another to actually have your character sing "I Shall Be Released" in full at the end. The intent is righteous. The dramatic overkill is deadly.
  14. Visual Acoustics goes out of its way to remain as kindly and pleasing as Shulman himself.
  15. The longer this "Abbott and Costello's Lethal Weapon" goes on, the more the fun dissipates - until a queasily violent climax, which, naturally, fully embraces genre stereotypes rather than dismantling them.
  16. The movie isn’t adventurous, but I’m sure glad it exists.
  17. Focus, instead, on the perks that Nightfall does offer: You still get the criminally underrated Aldo Ray trading hardboiled barbs with Anne Bancroft (“I’m a painter.” “Soup cans or sunsets?”); Brian Keith and Rudy Bond’s giggly good-thug-bad-thug double act; and the joy of watching beefy guys in boxy suits dangle cigarettes off sweaty lips and talk tough.
  18. St. Vincent has nothing on Rushmore, an obvious forebearer, even though it strains for the same egalitarian spirit of thrown-together family, one that includes a pregnant Russian stripper (Naomi Watts) and a sympathetic but firm Catholic schoolteacher (Chris O’Dowd).
  19. For every camp element like Javier Bardem’s rainbow-vomit outfits or Diaz’s onanistic tryst with a car windshield, there are a dozen poetic-pulp moments that channel McCarthy’s pitiless view of the world to a tee.
  20. The year’s 3-D deluge continues: Cloudy with a Chance of Meatballs is an amusingly loopy kids’ meal about a small-town inventor.
  21. That the duo will work their way back to each other is never in doubt, although Chazelle doesn't succumb to easy sentiment. If anything, he moves too far in the other direction, aiming for a wizened ambiguity that doesn't entirely come off.
  22. A believably unbalanced Bening scores the movie’s true coup: Karen’s revitalizing relationship with a sweetly persistent coworker (Jimmy Smits) is a rare example of Hollywood doing right by midlife romance.
  23. As subcultural anthropology, it’s unassailable. Yet the often ugly-looking DV aesthetic dilutes the cumulative effect.
  24. The oddest thing about the movie - and perhaps the asset that will tip it over into the plus column for you - is that it's a bona fide scuzz-Western.
  25. Redford’s devotion to old-school liberalism and ’70s socially informed dramas has been a directorial-career constant, and at its best, The Company You Keep feels like a movie you’d have seen in 1975 — one informed by political righteousness and made for adults.

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