Time Out New York's Scores

  • Movies
For 2,541 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 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Incendies
Lowest review score: 0 Vampires Suck
Score distribution:
2,541 movie reviews
  1. Unusually moving (not only to stray film critics in your crowd), director Steve James's keen profile of the late, great Roger Ebert works both as a compact appreciation of the reviewer's vast public impact, as well as an unflinching peak into a cancer patient's final months, fraught with pain, hope and constant treatment.
  2. 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.
  3. Best of all, filmmaker Bennett Miller (Capote) uses this brainiac sports movie to remind viewers that money is neither the measure of a man nor the ultimate assessment of quality; it's a myopic metric based on past accomplishments rather than future potential. After all, success isn't always about the home runs so much as just getting on base - again, and again, and again.
  4. Creepy doesn't begin to describe these masterworks of control freakery, nor does beautiful - they look as if they're glowing from the inside out, even as Crewdson's scenes of furtive common people make viewers feel like voyeurs.
    • 87 Metascore
    • 90 Critic Score
    There is always an interesting tension in Cameron's work between masculine and feminine qualities. When it finally hits the fan here, we're in for the mother of all battles.
  5. A classically structured rampage that bears serious comparison to the definitive greats of Akira Kurosawa, 13 Assassins will floor connoisseurs of action, mood and the dignity of a pissed-off scowl.
  6. The best style has a purpose to it, and Russian Ark, in its hypnotic, endless swirl, gets at a deep truth of the post-Soviet psyche, haunted by its legacy of czarist rule and Stalin-era sacrifice. The film is a sad home for ghosts.
  7. 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.
  8. 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.
  9. You could hardly ask for a more beautiful vision of souls in transit.
  10. If the overall effect of Nebraska’s father-son bonding and attention-must-be-paid pathos doesn’t quite have the zing of the filmmaker’s best work, he’s certainly got an ace in the hole.
  11. Never quite shakes its sitcom-ish setup. The director alternates incident-laden storytelling with penetrating character moments that her terrific cast acts to the fullest.
  12. Cave of Forgotten Dreams feels stuck in a middling zone of too much conjecture and not enough scholarship.
  13. The true value of the film is universal: These kids study the knotty viral science, pressure doctors into taking daring, inventive steps and make their cause a global emblem.
  14. Despite being the subject of nearly every shot in the film, Hoss maintains an air of mystery, simultaneously projecting severity, sensitivity and sensuousness throughout.
  15. Godly as the monks are, they are still human-which makes their ultimate sacrifice all the more devastating.
  16. If Marcello Mastroianni’s character from "La Dolce Vita" hadn’t stepped off the sweet-life treadmill, this is exactly who he would have become.
  17. Shindô concocts a stylistic mix of odd experimental flourishes, female nudity, Soviet-style close-ups and baldly sentimental melodrama to emphasize the toll this disaster took; its cup may runneth over, yet the stark vibe is impossible to shake.
  18. Not a bad setup for a cops-and-robbers thriller, and in the hands of action-movie maestro Johnnie To, the result comes very close to greatness.
  19. No performances stand out, which is a shame given Affleck's track record with actors. Ultimately, it comes down to a chase to the airport, with a scary Revolutionary Guardsman at the gate.
  20. I'd trade much of The Master for one extraordinary moment played by the ever-improving Amy Adams, in front of the bathroom mirror with Hoffman.
  21. Andersen makes humorous hay out of the stark home designs of Richard Neutra — only suitable, it seems, for drug dealers.
  22. A first-rate piece of forensic filmmaking.
  23. The attention to visuals is above and beyond what most vérité is capable of; doing double duty as the film's cinematographer, Fan demonstrates a pitch-perfect photojournalistic eye.
  24. How can a movie so steeped in post-Katrina imagery eschew even the smallest comment about social responsibility? Maybe that was deemed too earnest, a decision that makes zero sense when a twinkling score is ladled on like instant pathos. Real people aren't beasts, nor do they require starry-eyed glorification. Bring your liberal pity.
  25. The movie skips along episodically; it's not quite as sharp as a war narrative needs to be, even if its nightmarish psychology feels spot-on.
  26. None of this is pushed into comic relief—the filmmaker lets his drama play out with gentleness — and you smile at the many evolutions.
  27. Very little gets in the way of Lebanon's apocalyptic mood; if it turns its audience even slightly away from barbarism, it might have done its job.
  28. A moving meditation on history, knowledge and mortality.
  29. That rarest of art documentaries, one that actually leaves viewers with a better sense of the gifted versus the phony.

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