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 Mistress America
Lowest review score: 0 Vampires Suck
Score distribution:
2929 movie reviews
  1. Like :Carnage,: it’s a bit of a minor lark until a deliciously grotesque finale pushes it into the realm of such kinkily profound Polanski films as: Cul-de-sac: (1966) and "The Tenant" (1976). By that point, you can’t help but submit to the perversity.
  2. It’s a human-size tragedy, one that shows how deadening it can be to remain subject to those who give us life.
  3. As you watch these actors, you appreciate the endeavor the climbers went through all the more — and as triumph turns to tragedy, you feel the grief winding its way through your shaken nervous systems.
    • 61 Metascore
    • 80 Critic Score
    The film lacks background and cultural context, a surprising choice considering the rich history of the art form. But the interviewees are so compelling that their stories stand on their own.
  4. The first half of Right Now, Wrong Then fits the usual mold, but the real joke begins when the movie abruptly starts over and our hero — seemingly aware of his Groundhog Day do-over — makes subtly different (and smarter) choices the second time around in a rich and playful revision.
  5. Inception, though, is no "Avatar"--instead, it’s the movie that many wanted "Avatar" to be. In a roaringly fast first hour, we’re introduced to a new technology that allows for the bodily invasion of another person’s dreamworld.
  6. The new drama, best viewed as a church movie, is a return to the kind of corner-chat indie cinema Lee revolutionized, with an emphasis on a towering performance by The Wire's Clarke Peters as a local bishop inflamed with the Word.
    • 62 Metascore
    • 80 Critic Score
    Bad Milo! is sick—but it’s the right kind of sick.
  7. Every so often, you get the gift of watching an under-the-radar actor bloom into a critical-mass phenomenon before your bloodshot eyes: Franka Potente in "Run Lola Run," or Christoph Waltz in "Inglourious Basterds." Add Noomi Rapace to the list; what she does with the title character of this Swedish thriller-cum-pop-lit-adaptation will spawn cults of swooning Rapacephiles stat.
    • 83 Metascore
    • 80 Critic Score
    William Hechter and Peter Miller’s documentary explores an artistic life well lived, combining interviews (Leiber & Stoller, Jimmy Scott, Ben E. King) and footage of the man at work beside kindred spirits like Dr. John, to construct a moving, un-mawkish portrait of a songwriting icon.
  8. It’s a portrait that’s equal parts shtick and soul — in other words, exactly what "The Love Guru" should have been.
    • 72 Metascore
    • 80 Critic Score
    Combining footage of embattled town meetings and raucous boardwalk scenes with evenhanded interviews and visualized statistics, Zipper is a compelling argument for a populist Coney Island whose days are, alas, numbered.
  9. A rare delight that’s laced with melancholy and a suffocating sense of menace from its first scene straight through its shocking finale, Man From Reno is made special by the collisions between its characters.
  10. The man himself has rarely been profiled without noticeable reluctance, though documentarians Molly Bernstein and Alan Edelstein delve fairly deep by allowing their subject to guide them where he may.
  11. Her
    It’s a tale of lonely souls and literalized online dating, and you assume filmmaker Spike Jonze will characteristically mix high-concept absurdism with heartfelt notions. Unexpectedly, the latter dominates, thanks in no small part to Phoenix’s nuanced, open-book performance.
  12. The movie isn’t quite suitable for the extremely young, but its apocalyptic tint may be catnip for smart preteens. They’ll breathe in the chilly air of a mysterious forest--the way forests should be.
  13. Mostly, you see a prolific artist going out playing—an unsentimental, salt-of-the-earth tribute that keeps the beat in a way that would make this extraordinary journeyman beam.
    • 76 Metascore
    • 80 Critic Score
    Leavened by an attractive soundtrack that includes the Carter Family’s well-placed “Single Girl, Married Girl” (and the Paul Simon song that gives the film its title), Obvious Child has a loud agenda that will be off-putting to some. Still, it’s a welcome counterpoint to the likes of "Knocked Up" and even "Juno," where the abortion route is an apparent no-go.
  14. Where he ends up going—a place of real anxiety and envy—speaks to the filmmaker’s nervy ambitions. If this is Baumbach’s commercial breakthrough, he will have made it several steps up that staircase with nothing lost.
  15. Bellocchio counters these flaws with an energetically combative aesthetic (he makes you feel like you’re riding out a sociopolitical tempest, careening between perspectives) and an overarching humanism that gives equal weight to the many feelings stirred up by this hot-button situation.
  16. Imagine if Frederick Wiseman and David Lynch had a bastard child, and you'll get a sense of the movie's off-kilter aesthetic, a potent and pointed mix of firsthand observation and surreal flights of fancy.
  17. As presented here (cut down from a longer edit), the film might have benefitted from more technical context related to the plant’s failure — this is a cautionary tale worth heeding. But the voices are valuable enough.
  18. It’s a movie about coming to peace with solitude, leagues beyond most biopics.
  19. It's Gruber's own remembrances (and a wealth of accompanying archival photos and film footage) that best mark her life as a case study in pioneering feminist courage, ambition and individualism.
    • 50 Metascore
    • 80 Critic Score
    The logic wouldn’t hold up under scrutiny, but García Bogliano’s unnerving mood, complemented by grungy camerawork and a shroud of sonic chaos, provides an emotional strain that makes anything possible.
  20. If Fuqua and his screenwriters (including True Detective’s Nic Pizzolatto) slightly botch the underlying theme of redemption—Ethan Hawke’s haunted ex-Confederate sharpshooter could have been more developed—it still makes good on its ideas of community pride.
  21. This surreal, sentimental journey does provide an excellent encapsulation of everything Ruiz did best: oddball takes on highbrow lit and lowbrow genre conventions, guided tours of characters’ mazelike memory banks, and a reveling in film culture that doubles as a cinephile’s wet dream.
  22. Harmony is a finely tuned comedy, complete with precisely scripted jokes and comic set pieces that swerve toward the playfully perverse.
  23. The documentary is strongest during these conference-room brainstorms, similar to those of a political campaign. (It could have used more of Boies’s witness-demolishing courtroom eloquence.) The draw here is watching a careful process unfold, regardless of the outcome.
  24. Interviewing residents from across the spectrum, Neshoba reopens the debate: How was this allowed to happen? How do we move forward? Some questions, this compelling movie reminds us, still require answers.

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