Time Out New York's Scores

  • Movies
For 2,561 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 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 A Man Escaped (1956)
Lowest review score: 0 Vampires Suck
Score distribution:
2,561 movie reviews
  1. 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.
  2. Blackfish, a troubling exposé of Sea World’s hazardous entertainment trade, does much to restore a realistic sense of danger, interviewing former park workers who detail their shoddy, nonscientific training, and chronicling the much-suppressed history of whale-on-human violence.
  3. Fellag does for the film what his Lazhar does for the pupils: He's soothing and entrancingly enigmatic enough to keep us fixed to our seats.
  4. The good news is that the film's stylistic excesses don't negate the many fascinating aspects of Nim's story.
  5. Jiro’s genius is godlike, but his personality is nonexistent; time is too-briskly spanned, then ground into blow-by-blow melodrama.
  6. This is Young in his playroom, grabbing his toys at random while indulging his every antimelodic whim, and Demme’s off-the-cuff approach makes for the perfect aesthetic complement.
  7. When it comes to capturing the man behind the phenomenon, however, the film never progresses beyond a superficial, weird-yet-wonderful portraiture.
  8. The sisterhood who have made this an art form mostly remain unsung heroes, as it were, of the hit parade. Their collective bow is long overdue.
  9. This isn't the kind of doc to explain everything (or anything, really)-it does honor its subject, though, and that's plenty.
  10. The strength of Animal Kingdom is its slow-building fatalism; the criminals' luck runs out, but then finds depressing extension via an out-of-left-field collaborator. It's a movie that has very little faith in authority, not even in Guy Pearce's righteous detective. The only law here is Darwin's.
  11. You still can't help admiring the project's ambition; an odd combo of "Babe: Pig in the City" and Godard's "Histoire(s) du cinéma," Hugo is the strangest bird to grace the multiplex in a while.
  12. Director Paul Greengrass remains a genius of claustrophobia, yet his better films — "Bloody Sunday," "United 93" and "The Bourne Ultimatum" — all beat with a stronger sense of central identification. He doesn’t have as much to work with this time, and his solution is to slow down the pace. The result is more clarity, but also more monotony.
  13. There's a darker, fanatical side to blindness too-and this is the movie to show it. Leave all judgments behind.
  14. A 25-words-or-less pitch for The Day He Arrives - shot in luminous black-and-white - might go something like: "Hong Sang-soo does Groundhog Day."
    • 83 Metascore
    • 80 Critic Score
    William Hechter and Peter Miller’s documentary explores an artistic life well lived, combining interviews (Leiber & Stoller, Jimmy Scott, Ben E. King) and footage of the man at work beside kindred spirits like Dr. John, to construct a moving, un-mawkish portrait of a songwriting icon.
  15. Mike Eley’s gorgeously saturated cinematography helps elevate the boys’ struggle into the realm of the heroic, but it’s the two young stars — one a whirlwind and the other a quiet protector — who make this only-slightly tall tale into something towering.
  16. Apted once wanted to give us "glimpses into Britain's future," per the archival-footage announcer. With this installment, he's delivered an intimate portrait of settling down and finally making peace with one's well-publicized past.
  17. Reitman, who also cowrote the screenplay, feels the constant need to "deepen" his characters, granting them wants and motivations--especially during the moralistic third act--that are totally alien to how they're initially portrayed.
    • 83 Metascore
    • 40 Critic Score
    The Flat details his efforts to understand this unusual situation, and although the film suggests that his relatives may have maintained this odd friendship as a denial of their homeland's betrayals, there's only so deep Goldfinger can dig.
  18. No side overwhelms the other in the back-and-forth; you feel more like a profoundly uncertain moment is being marked, with little concrete sense of the outcome beyond mankind's enduring hunger for moving pictures.
    • 82 Metascore
    • 60 Critic Score
    Those reunions are not always happy ones—one relative claims that his nephew would be less trouble dead — but they offer a brief, striking glimpse into the situations that make such a organization necessary.
  19. Ajami is Israel’s submission to the Oscars, and like the gritty "City of God" before it, it takes harrowing, tricky circumstances and illuminates them with Scorsesian snap.
  20. Moreover, the story doesn’t climax in all’s-well-that-ends-well matrimony, instead building to a beautifully bittersweet moment of self-realization, one with a light-touch profundity that would make the Bard proud.
  21. Paradoxically, this is not a tale about summoning inner strength, but about shedding pride. Sometimes, there's no choice.
  22. Chomet builds this beguiling symphony of sadness to a poignant finale that does ample justice to the many layers of Tati's tale, both in text and out.
  23. A staggering political drama that could put you in mind of the intimate sweep of Bernardo Bertolucci, Incendies feels like a mighty movie in our midst.
  24. It's the stuff of melodrama, heightened by Davies's pitch-perfect use of pop songs, like a sad "You Belong to Me," slurred by a misty crowd in a bar.
  25. Coleman's life and work are treated as a continuum, which Clarke pulls from at will.
  26. Filtering the fallout of Mexico's drug wars through the eyes of one stoic security guard, documentarian Natalia Almada (El General) avoids the head-on journalistic approach and emerges with something far more impressive: a piece of lyrical, sideways social reportage that still connects an astounding number of dots.
  27. Short Term 12 isn’t without drawbacks, occasionally dipping into a too-neat narrative tidiness and a self-conscious sloppiness. Yet the film’s charms and ability to cut through jadedness despite the subject matter makes it a rarity — a modest indie that’s feels like it’s in it for the long haul.

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