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 The Look of Silence
Lowest review score: 0 Vampires Suck
Score distribution:
2,784 movie reviews
  1. 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.
  2. 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.
  3. Seymour unfolds like a Jewish Jiro Dreams of Sushi—Bernstein may look like your average NYC grandpa, but he lives like a monk and talks like a guru.
  4. 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.
  5. 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.
  6. There’s a quiet fury to Johnny Guitar, best embodied by Mercedes McCambridge’s vicious Emma, who wants to drive Vienna out of town. It’s a film that climaxes with a gunfight between two women, while the men hide behind tree stumps.
    • 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.
  7. 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.
    • 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.
  8. 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.
  9. 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.
  10. Paradoxically, this is not a tale about summoning inner strength, but about shedding pride. Sometimes, there's no choice.
  11. 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.
  12. 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.
  13. 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.
  14. It teases out the distinctly modern subject of celebrity profile-writing, a rare one for the movies, detouring into avenues of attraction and envy.
  15. Coleman's life and work are treated as a continuum, which Clarke pulls from at will.
  16. 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.
  17. 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.
  18. Tsai’s work sees generational defiance as a symptom of the ennui felt by their young subjects as they drift into adulthood, and Rebels’ unusually sharp focus on that theme makes it an accessible primer for the elements that would inform the more oblique masterpieces to come.
  19. Daringly plotless and disconnected (“just like my life!” squeals the target audience), Noah Baumbach’s latest, a breeze, feels a lot less self-absorbed than usual, mainly for not having a neurotic at its core.
  20. Wang has made a confidently intimate movie that is devastatingly larger-than-life.
  21. Rarely leaning on the weepy families back home, this briskly paced triumph maintains a clear focus on human costs, with hope slipping away onboard while lives hang on the burp of a fax machine.
  22. Quietly, though, this amuse-bouche of a setup (culled from six episodes of BBC television) blooms into a meal of majestic agony. Coogan and Brydon's competitive bursts of celebrity impressions - Michael Caine comes in for special attention - take on a tone of clingy desperation, as does their jockeying for status in taunts of love, marriage and career.
  23. Of Stallone’s surprisingly tender performance — a definitive late-career triumph — enough can’t be said
  24. Nothing about The Spectacular Now feels easy or After-School Special, although it tidies up too much (the personal essay should be retired as a device).
  25. Her (Binoche) award-winning performance is reason alone to dive into such intellectual gamesmanship. (She can suggest an entire emotional arc with one facial tic.)
  26. Cedar's idiosyncratically brilliant script also has a moral question at its heart: Is lying to spare someone's feelings ever justified? Surely the Talmud has a thing or two to say about that.
  27. Steve Jobs the movie is a lot like Steve Jobs the person: astonishingly brilliant whenever it’s not breaking your heart.

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