Time Out New York's Scores

  • Movies
For 2,468 reviews, this publication has graded:
  • 31% higher than the average critic
  • 2% same as the average critic
  • 67% lower than the average critic
On average, this publication grades 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 In the Family
Lowest review score: 0 Vampires Suck
Score distribution:
2,468 movie reviews
  1. This fascinatingly knotty movie never becomes a facile screed against the powers that be. Instead, it plays as a more relaxed and leisurely requiem for a slowly vanishing way of life, with sounds and images-a time-lapse contemplation of the cosmos is in the running for scene of the year-that are as mesmerizing as they are subtly pointed.
  2. The first major motion picture to come out of Congo in decades happens to be one of the best neonoirs from anywhere in recent memory.
  3. This film's effectively wrought communion between once-spooked man and animal is more than enough for any entertainment. It rides easily into your heart.
  4. R
    This unflinching parable brings the hammer down on its cinematic brethren's fetishization of cell-block Rockefellers. R's final shot says it all: The house wins. The house always wins.
  5. Battle offers both a sobering portrait of personal revolt (notably through activist Daniel Goldstein, whose eviction fight landed in the State Supreme Court) and a searing case study of a community dismantled by racial and economic tensions. Alas, it's not much of a battle; more like "Requiem for Brooklyn."
  6. It's an equally insightful and excruciating journey, with our quip-ready protagonist perpetually caught between two modes: eager-to-please caffeinated and near-breakdown frustrated.
  7. If you're even slightly interested in folk music, there will be something here to simmer that curiosity into a full-on boil: the Arabic trip-hop stylings of monomonikered rapper-singer Raiz, raspy Pietra Montecorvino's Stevie Nicks–like dance tunes, a gorgeous sax solo from local jazz legend James Senese.
  8. A movie that could terrify parents while charming them with its compassion.
  9. Though the characters are fictional, Polytechnique hews close to the facts regarding the 1989 incident, down to its misogynistic Marc Lépine avatar (Gaudette) separating "feminist" coeds in a classroom.
  10. It never feels as if we're watching a brand-name cash-grab, but instead as if we're participating in an endlessly imaginative afternoon of play.
  11. Another Earth is a movie you take home and write your own ending to.
  12. Jendreyko elegantly sketches in the details of his subject's life and the historical events surrounding her coming-of-age-out of which emerges a fascinating subtext about the malleable powers of language.
    • 63 Metascore
    • 80 Critic Score
    It's after the sex friends go back to being just friends that the film really hits its stride, and that's also when the excellent Patricia Clarkson and Richard Jenkins enter the picture as loving but imperfect parents who help explain what's made both leads so gun-shy.
    • 78 Metascore
    • 80 Critic Score
    In narrative terms, it's mostly an excuse to work in a trio of crooks whose banter may be even better than that of our hero; Mark Strong's disgusted rant about paying off policemen and Liam Cunningham – led musings on Bobbie Gentry's "Ode to Billie Joe" are enough to justify the entire movie on their own.
    • 58 Metascore
    • 80 Critic Score
    Life really sings when it's simply pulling together thematic montages - of waking up, food preparation or answers to the question "What do you fear?" - or letting a genuine moment unfold without comment.
  13. Gideon Koppel's free-form portrait of a Welsh farming community may be the most subtly poetic piece of cine-anthropology to come down the pike in eons.
  14. In one grease-monkey swoop, Glodell proves that he's a subversive talent worth following. Let a thousand of his future projects bloom.
  15. What might have been a long walk off a short pier becomes a valid, vital rethinking of a crime classic.
  16. The filmmaking is patient and participatory, getting down in the dirt with the workers (in one case the lens is even soaked by a spray of sludge) and allowing several touchingly distinct personalities to emerge.
    • 68 Metascore
    • 80 Critic Score
    Although several sections deal with the Ceausescu-era party apparatus, Mungiu's interest lies more in how the nation's political confusion affected the general populace. It's history told from the bottom, where what everyone thinks happened matters as much as what actually did.
  17. All of this is way smarter than it needs to be - and it's only the prologue to the main event, which explodes the film into awkwardness but a weird kind of triumph, too.
    • 73 Metascore
    • 80 Critic Score
    Barely 17 when she had Thomas, she's more like a peer than a parent, enough so that their uncomfortable relationship starts to take on a smattering of sexual tension. There's a nagging vagueness to this aspect of the movie, one that's difficult to square with the opening claim that it's based on real events; at a certain point, you may wonder which events they mean.
  18. It's in the periphery of this daily minutiae that Covi and Frimmel work their neorealistic magic, turning what might have been a sappy maternal-awakening melodrama into a simplistic, genuinely sweet tribute to motherhood, Italian style.
  19. The pieces here are wonderful, even if the documentary fails to make any kind of overall analytical point.
  20. If this profile is marred slightly by thematic tidiness and a willingness to overglorify the champion's rise (Fischer didn't even write his best-seller, Bobby Fischer Teaches Chess), it still supplies a cracked, conflicted genius trapped in his ceaseless endgame.
  21. It's far from a definitive statement-why does ACT UP, a seminal presence in SF, get such short shrift? - but this oral history provides a righteous cri de coeur for those who perished in the precocktail era.
  22. Toward the end of the film, a few hard-hitting cuts between young and old brings the title's meaning home: These children have an inescapable life of drudgery before them, and there's little likelihood it will change anytime soon.
  23. The rush of A-listers combined with apocalyptic dread creates its own kind of dizzy pleasure: Who's going down next on this Poseidon Adventure?
  24. Majewski's film is a dazzling master class in visual composition.
  25. Even at a mere 75 minutes, Silent Souls is thrillingly dense and allusive, and the elegiac finale maintains the overall air of mystery while beautifully bringing all the disparate threads together.

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