Time Out New York's Scores

  • Movies
For 2,642 reviews, this publication has graded:
  • 32% higher than the average critic
  • 2% same as the average critic
  • 66% lower than the average critic
On average, this publication grades 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Children of Hiroshima
Lowest review score: 0 Vampires Suck
Score distribution:
2,642 movie reviews
  1. Again, Granik has foregrounded a bold woman, expertly balanced between fearlessness and Ree's own private nervousness.
  2. 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.
  3. Thus comes My Perestroika's most sophisticated idea: Day-to-day family struggles have a way of trumping even the most profound political change. Don't miss this.
  4. Sure it is - and a great one at that.
  5. Ida
    Pawlikowski’s film may be bleak and unforgiving, but it’s also richly sympathetic and deeply moving.
  6. A dynamite crime comedy and identity meltdown that can rekindle one’s faith in movies.
  7. Fortunately, Oppenheimer keeps the film focused on the highly complicated Anwar — a charismatic devil if ever there was one — observing as this strange reckoning with the past slowly breaks down his defenses.
  8. A paranoid police procedural, a perverse parable about the corrupting elements of power, and a candidate for the greatest predated Patriot Act movie ever, Elio Petri's stunning thriller makes no attempt to hide the culprit behind the film's grisly murder.
  9. We are in the presence of a new classic.
  10. The film plays like a better episode of "Mad Men," pitch-perfect in its details yet fully lived-in: a universe of rolled-up shirt sleeves, sweat-laden brows and screams that don’t sound canned.
    • 89 Metascore
    • 80 Critic Score
    The storytelling is brisk, though the wealth of events and characters means you have to let yourself go with the flow. But Gangs of Wasseypur is always compelling, and Bajpai’s charisma means there’s always a colorful presence at the heart of the drama long after the endless hail of bullets has grown tiresome.
  11. The popular view of art is that it belongs to the masses. Wiseman casts a more skeptical eye, questioning such egalitarianism with cold, hard historical context. Yet he simultaneously acknowledges that these works live on far beyond their original purpose, even if, as the film’s bold, brilliant climax suggests, they may eventually play to an audience of none.
  12. Yun is quite simply spectacular as a woman who holds steadfastly on to her dignity and empathy, even in the face of unspeakable tragedy.
  13. A fascinating experiment is about to happen, and who doesn't want to be part of a little fun? That rarest of birds - a b&w silent film - is set to swoop into multiplexes. Trust us, it won't bite.
  14. The Arbor's pummeling second half begins with the collapse of its celebrity subject; the following spirals of self-destruction make you suspect that some childhoods are simply too hard to escape. Tough, worthy stuff.
  15. Whiplash scrapes the far edge of crazy passion. It never apologizes.
  16. It will test your faith in humanity, but Hersonski's film is nonetheless a brilliant reminder of the importance of bearing witness.
  17. The auteur’s style — dramatic zooms, winking symmetry — is balanced against a newfound political context; this one’s his "To Be or Not to Be."
  18. The rich atmosphere of the movie may be the sexiest thing about it: It’s no wonder these women breathe in the air of possibility and find themselves imbued with boldness.
  19. Our fury is never directed toward concrete solutions, and that allows the guilty parties to slip, perhaps permanently, from our grasp.
  20. Firth is exceptional in letting us into his dissolving pride.
    • 88 Metascore
    • 80 Critic Score
    Alternating between stunning fixed takes and quick you-are-there camera movements, Bill and Turner Ross's portrait of their tiny Ohio hmetown (the title is its zip code) weaves a hypnotic tapestry out of everyday banalities.
  21. Push any guy long enough with alcohol and aggressive masculinity, the film suggests, and you'll find an XY-chromosomed predator lurking behind the mask.
  22. Provocatively, the film suggests that winning small battles was victory enough; Saigon natives, also interviewed, were left behind to endure death camps.
  23. The film has a traditional appeal that's wholly separate from its surface.
  24. Its historical import as a peripheral civil-rights document can't be understated.
    • 87 Metascore
    • 100 Critic Score
    The movie's true brilliance comes from its portrayal of how the world curls around you in the grip of heartache-every song on the radio, every face you see, every story you're told reflecting only what you've lost.
  25. Either via clay dolls or fragile flesh, the truth is unmissable—as is Panh’s film itself.
  26. By using Laura as an avatar, Marker actually helps us see the visuals and their knotty meanings much more clearly. The more we watch, the more Laura softens, until — in a mind-bending conceit — her very status as a fictional creation is called into question. The effect is ecstatic.
  27. The most gratifying thing about the film is feeling Moodysson’s warmth return to him.

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