Time Out New York's Scores

  • Movies
For 2,784 reviews, this publication has graded:
  • 33% higher than the average critic
  • 2% same as the average critic
  • 65% lower than the average critic
On average, this publication grades 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 A Separation
Lowest review score: 0 Vampires Suck
Score distribution:
2,784 movie reviews
  1. Redford, already a giant, has never been more suggestive. His character’s misadventure — might be a kind of cosmic penance. It’s the salvation of the moviegoing year.
  2. A saturated picture that courses with the raw energy of found footage while still feeling artfully composed, a movie that punches with the skittering violence of dubstep but careens through L.A. with the unbridled freedom of bebop jazz.
  3. We are in the presence of a new classic.
  4. Defiantly intellectual, complex and true to the shifting winds of real-world governance, Lincoln is not the movie that this election season has earned-but one that a more perfect union can aspire to.
  5. Marrying the biting frenzy of Terry Gilliam’s film universe with the explosive grandeur of James Cameron, Miller cooks up some exhilaratingly sustained action. But the key to this symphony of twisted metal is how the film never forgets that violence is a sort of madness.
  6. Rare is the profile that captures so much oddness with so little judgment. You owe yourself a chance to be challenged.
  7. The details are gripping, presented with respect for an audience's intelligence.
  8. Funny and heartbreaking, this is a movie that would have made the '80s-era Jonathan Demme, attuned to American anxieties, blush with pride.
  9. The rare film possessed with the courage required to shine a light into that abyss knowing full well that down is the only way out.
  10. You may often find yourself second-guessing the film, questioning how—and if—it will all come together. But by the time of the intense and impassioned climax, a storm of emotion is ensured: a great movie rising before you like a delusion, like a dream.
  11. Matthew McConaughey finally locates his perfect métier as the town's Fordian skeptic, a district attorney who smells a rat.
  12. Like the wood-grained farmhouse itself — a beautiful piece of production design by Julie Berghoff — The Conjuring has an analog solidity that makes the terror to come almost unbearable.
  13. Turning the on-location Tokyo streets into the perfect backdrop for a cartoonishly colorful version of hardboiled drama - call it Pulp Art - House of Bamboo keeps its story line about an undercover Army cop (Stack) battling a gangster (Ryan) on the lean and mean side.
  14. The beauty of this movie, both a nostalgic romp and a futuristic scream, is its stubborn insistence on getting all the trapped-in-amber details right.
  15. An epic indictment of media manipulation, this avant-doc delivers its coup de grâce once the camera finally demands accountability - leaving the disgraced despot staring into the lens, and the abyss of history staring back into him.
  16. Though it runs an epic five-and-a-half hours (it was made for French TV), Carlos books like no film since "Goodfellas." You will not be bored, ever.
  17. The journey is often challenging, but the rewards—heady, emotional, provocative and invigorating—are endless.
  18. It's McConaughey who is the real revelation: All Grim Reaper strut and cutthroat stare, he savors each of Letts's vividly ghoulish lines.
  19. Remains a primo example that cinema actually traffics in truthiness 24 frames per second.
  20. Wheatley, underplaying his stylishness, goes for a subtle national satire about geeks gone wild, and that’s the fun here: On as mild-mannered a vacation as two Brits might devise, a killer comes along—and, after a while, is politely welcomed in, the kettle simmering.
  21. The tunes, flooding every frame, remain perfect.
  22. Polley has gone further into the thorny subject of forgiveness than any of her peers. Her movies ache with ethical quandary; Stories We Tell aches the most.
  23. On purely formal grounds (the ones on which the genre lives or dies), Kent is a natural. She favors crisp compositions and unfussy editing, transforming the banal house itself into a subtle, shadowy threat.
  24. It’s a sexy concept that will thrill Assayas neophytes, but the director’s longtime fans will find its pleasures virtually pornographic.
  25. Brava, Mia! The exceedingly talented Ms. Hansen-Løve (the writer-director of Father of My Children) is sure to win many more fans with her latest feature, an incisive, exhilaratingly frank examination of l'amour lost.
  26. Those Dardenne brothers…still making great movies with second-nature ease.
    • 80 Metascore
    • 100 Critic Score
    It's hardly the first movie to deal with thimble-size protagonists, but it's one of few animated fairy tales to genuinely transport the audience into their world and, in the process, let us see our own with fresh awe and respect.
  27. Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.
  28. The movement of the story—from wrenching homesickness to blooming confidence and a smile on one’s stroll to work—elevates the movie into universal urban poetry.
  29. Here's where it's easiest to see Clouzot's advantage over his more famous peer, as he combines nail-biting action scenes - calibrated to the millimeter - with a Hawksian command of earthy performances.

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