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. The film gets so many exquisite details just right—the vacuous party guests, Hayek’s slightly self-righteous pose, the happy clink of the wine glasses—that it’s a letdown to realize the movie doesn’t have a proper ending. You take it home with you and argue about it.
  2. Filmmaker Victor Nunez pairs evocative locales--beatnik Bay Area, bucolic rural New Mexico--with fleeting asides of poetry (penned by the Santa Fe–based writer Joe Ray Sandoval); these meditative detours both elevate a routine story arc and tap into tangled, twisted familial roots.
  3. An Arabic-German coproduction, it is a rare movie shot entirely in Saudi Arabia, which has no cinema industry to speak of, and the first feature by a female filmmaker from that country. Forbidden from mixing with the men in her crew, Al-Mansour often directed via walkie-talkie from the back of a van.
  4. Thompson's imagination-she's also the screenwriter-knows no bounds, and she does a brilliant job of connecting the fantastical elements to the sobering realities of life during wartime.
  5. Unlike most directors, style is hardly a side dish with Michael Mann—it’s the main entrée. No one captures city lights at night or luxury cars slinking down the highway like the creator of Miami Vice, and his conversion to digital video continues to yield breathtaking results.
  6. Working from a script by playwright Darci Picoult, Dosunmu fashions a tale that’s realistic, melodramatic and culturally specific (we spend as much time ogling colorfully patterned dresses as we do admiring Gurira’s endlessly expressive face), yet unmistakably archetypal.
  7. Inherent Vice, Anderson's sexy, swirling latest (based on Thomas Pynchon's exquisite stoner mystery set at the dawn of the '70s), is a wondrously fragrant movie, emanating sweat, the stink of pot clouds and the press of hairy bodies. It's a film you sink into, like a haze on the road, even as it jerks you along with spikes of humor.
  8. No other filmmaker on the planet can touch Evans for long-take beatdowns and wildly inventive flourishes.
  9. This is prime Woody Allen - insightful, philosophical and very funny.
  10. Majewski's film is a dazzling master class in visual composition.
  11. The effort is commendable and the complicated emotions of the piece (for a place and a people) come through loud and clear. To paraphrase the great Ms. Russell, the movie has the power to make you laugh and the power to break your heart in half.
  12. Adjust to the deliberate rhythms of this hiking movie-set on the lush slopes of Georgia's Caucasus Mountains - and the psychological payoff stings like a blister.
  13. It will test your faith in humanity, but Hersonski's film is nonetheless a brilliant reminder of the importance of bearing witness.
  14. Delicately placed on a sonic bedrock of chirping birds and distant traffic, Cemetery of Splendour is a whisper of a film that can only cast its spell if you let your breathing slow and give yourself over to the urgency of its spectral dimension.
  15. The animation itself might not be the most inventive out there (this isn’t Pixar), but where Sing soars is in its one-by-one attention to its ensemble of beasts and its obvious passion for music: It’s nearly impossible to watch this film and not be humming the Beatles’ "Golden Slumbers" for days afterward.
  16. The Tillman Story balances cynical and inspirational aspects in equal measure. Pat's demise-and the media debacle around it-seems that much more tragic and enraging.
  17. The actors are what save it. Not only does Johnson build on his subversive 
persona of hulking, dim-witted likability, 
but he’s joined by Neighbors’ Zac Efron, today’s reigning king of the hazy one-liner.
  18. A truly impressive portrait of self-destructive, smooth-talking alpha males, and a testament to an actor who waltzes across that Peter Pan–syndrome tightrope with the greatest of sleaze.
  19. The sights are gorgeous—a seamless mix of archival imagery and impressively rendered digital views of our galaxy—and the science is, to layman’s eyes and ears, more than credible.
  20. This is a brutal movie that finds unusual freedom in limitations, as do wiry bassist Pat (Anton Yelchin) and bleach-blond concert attendee Amber (Imogen Poots), who both turn out to be pretty handy with weapons. Chalk it up to their killer instincts.
  21. Geraghty’s performance is harrowing: Clinging to the phone and tortured by his ecstasy, he weaves empathy out of a flawed loner’s dysfunctional fetish.
  22. Sally Hawkins cruises into her new movie the same way she did her breakthrough, "Happy-Go-Lucky."
  23. The unexpectedly wonderful thing about this sequel is that it actually improves on the jokes.
  24. By the time the beast spreads his wings to full span, soaring skyward toward a vaguely Spielbergian moon, you’re in the kind of breathless awe that so few current cinematic superproductions are able to provide.
  25. By the end, you feel curiously closer to the performer and her process without having any clue how you got there. It's exhilarating.
  26. When Kriegman is heard at a Weiner low point asking, “Why did you let me film this?” you’re glad the question is asked. But there’s no answer: The narcissism is all up there onscreen, but shame will have to wait for the sequel.
  27. Director Radu Muntean has pulled off the near-impossible, turning each scene (captured in capacious long takes) into arias of generosity for his actors.
  28. The Bling Ring, Sofia Coppola’s deceptively shallow but ultimately fascinating latest, is animated by that spirit of we-don’t-give-a-f**k playfulness.
  29. It's the stuff of melodrama, heightened by Davies's pitch-perfect use of pop songs, like a sad "You Belong to Me," slurred by a misty crowd in a bar.
  30. The sisterhood who have made this an art form mostly remain unsung heroes, as it were, of the hit parade. Their collective bow is long overdue.

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