Time Out New York's Scores

  • Movies
For 2,957 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 Killer Joe
Lowest review score: 0 Vampires Suck
Score distribution:
2957 movie reviews
  1. The Tree of Life enthralls right from the start.
  2. Stripped to a minimum of editorializing (but, like "The Hurt Locker," flush with sympathy), this Afghanistan-shot war documentary takes its cues from the unblinking style of cinema verité.
  3. Rousing, devastating, invigorating, painful, joyful, soulful--all those adjectives don’t even begin to describe Passing Strange, but it’s a start.
  4. Meek's Cutoff has found its passionate defenders, those who admire it almost because of its meandering, heavily politicized nature. Yet you might try it-and try it again-and still only grab a handful of dust.
    • 85 Metascore
    • 60 Critic Score
    Coogler, who grew up in the same neighborhoods as Grant, evokes a tangible sense of place, and his staging of the climactic incident hits like a fist in the gut. It’s not enough to wipe out his reduction of this real-life figure into a composite-character martyr or the lukewarm filmmaking that’s come before, even if you’re left shaken all the same.
  5. Holy Motors is aggressively "wild," a puzzle that tweaks the mind but doesn't nourish.
  6. Anderson's romantic fantasia is after something much more complicated and profound-an ever-renewing balance between the hopes of youth and the disappointments of age.
  7. Horse Money is an ordeal, but you’ll be glad that Costa was there to help Ventura’s words find their way through the cracks.
  8. It doesn’t all work: The pace can feel a little slow, and there are points where Park tries to have his tasty feminist cake and eat it too. But mostly, this is smart, sumptuous and wonderfully indulgent.
  9. In combining video, surveillance footage and her own 8mm family memories, Heart of a Dog quickly accesses a realm of ideas that vault it far higher than mere sentiment would allow.
  10. [Farhadi and cowriter Mani Haghighi] prove to be stronger on atmosphere than on structure, aided by crisp, unnerving camerawork.
    • 84 Metascore
    • 80 Critic Score
    The film’s subject is almost too horrible to contemplate, but it finds a way to space out the blows without softening them.
  11. That the duo will work their way back to each other is never in doubt, although Chazelle doesn't succumb to easy sentiment. If anything, he moves too far in the other direction, aiming for a wizened ambiguity that doesn't entirely come off.
  12. Organizing the mercurial emotions and tics is director Joachim Trier, making good on the promise of his 2006 feature debut, the lit-related drama Reprise. This one's even better-it's about the honesty that often takes root in survivors, a rarely explored subject-but Oslo, August 31st is not an easy film.
  13. As time-travel action films go, here's one that's brainy, stylish and carries itself with B-flick modesty - all of which feels like some kind of alchemy.
    • 84 Metascore
    • 80 Critic Score
    The film doesn’t quite cut loose to hit emotional high notes, but Regina Spektor’s velvety cover of “While My Guitar Gently Weeps” poignantly completes a sweet, generous film.
  14. The Square offers more than just pictures of a revolution; it lets you into the mind-set of those fighting for their future, and that makes all the difference.
  15. It’s a trial run that puts many of his peers’ masterpieces to shame.
  16. The real strength of Cohen’s occasionally didactic drama, though, is in the way the film redirects your focus to the periphery and reminds you of the richness that resides there. It was an achievement Bruegel mastered early on. And it’s what makes Museum Hours its own work of art.
  17. This is an exquisite portrait of a family navigating the wreckage imparted to them by one of their own.
  18. Sprung from a 1982 French graphic novel and bearing its era’s trickle-down tensions, Snowpiercer is a headlong rush into conceptual lunacy — but you’ll love it anyway.
  19. A horror film with the power to put a rascally grin on the face of that great genre subverter John Carpenter (They Live), Get Out has more fun playing with half-buried racial tensions than with scaring us to death.
  20. When Kriegman is heard at a Weiner low point asking, “Why did you let me film this?” you’re glad the question is asked. But there’s no answer: The narcissism is all up there onscreen, but shame will have to wait for the sequel.
  21. Only 20 minutes in and you’re not going to think of another lead who could pull off this kind of reckoning — tangy, furious and about to become whip-smart.
  22. The documentary's scope feels a bit small overall - more concerned with capturing the episodic adventures of these disparate subjects than with connecting their experiences to larger societal ills.
  23. The lengthy final two shots (each running more than ten minutes) rank among the best work this inimitable artist has ever done.
  24. 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.
  25. Indeed, you leave the film feeling like Wiseman has given you a glimpse of one of those ephemeral ports in a storm to which all of us retreat at times.
  26. A manufactured kid-in-jeopardy climax and Blake’s rehab stint blow the mood. Until then, this is great American acting.
  27. A hilarious, deeply relaxed comedy about male bonding, Richard Linklater’s baseball-minded latest ranks right up there with his masterpieces.

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