Time Out New York's Scores

  • Movies
For 2,859 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: 56
Highest review score: 100 Goodbye First Love
Lowest review score: 0 Vampires Suck
Score distribution:
2859 movie reviews
  1. 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.
  2. 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.
  3. Wang has made a confidently intimate movie that is devastatingly larger-than-life.
  4. 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.
  5. 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.
  6. 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).
  7. 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.)
  8. 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.
  9. Steve Jobs the movie is a lot like Steve Jobs the person: astonishingly brilliant whenever it’s not breaking your heart.
  10. The tunes, flooding every frame, remain perfect.
  11. The White Ribbon comes dangerously--wonderfully?--close to playing like an evil-kid flick.
  12. This is textbook Kaurismäki, neither fresh nor unwelcome.
    • 82 Metascore
    • 60 Critic Score
    Spanning four years, To Be Heard has a large enough scope to map its subjects' rocky road to reinvention, concentrating on various bumps along the way.
  13. Time and changing tides have been kind to Graceland (and to the local musicians who've since become internationally renowned), but an on-camera meeting between the songwriter and ANC leader Oliver Tambo finds their conflict between creative freedom and revolutionary solidarity fascinatingly unresolved.
  14. 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.
  15. A train station finale is textbook tearjerker territory, but it still teems with exquisite sorrow.
  16. Comfortable with subtle Proustian detachment, the director has taken another stab at colossal scope, this time getting lost in the cerebral folds.
  17. Love Is Strange emerges as a total triumph for Sachs and his co-leads, John Lithgow and Alfred Molina, who, despite lengthy filmographies, turn in career-topping work. a sensitive domestic tragedy about the finite nature of any union.
  18. Expressively (Berger knows his grammar), a white communion dress is dipped in black dye as her custodial grandmother passes away and an evil castle beckons.
  19. There's too much beauty and ballast in the movie's early stages to dismiss Ceylan's cerebral cop drama, and too much genuine banality in its latter acts to justify a sluggish slouch into the shallow end.
  20. Though Stranger by the Lake leans a bit too heavily on its long-take, slow-cinema bona fides, there’s a clear purpose to Guiraudie’s rigorous perspective. He’s out to unearth the very potent (and often terrifying) emotions underlying every explicit act, sexual or otherwise.
  21. Saavedra, in an incredibly vanity-free performance, never shies away from Raquel’s darkest edges and still forces us to empathize with the frustrations and stunted loneliness of a life lived in servants’ quarters.
  22. By the end, you feel curiously closer to the performer and her process without having any clue how you got there. It's exhilarating.
    • 82 Metascore
    • 80 Critic Score
    At one point, Paul describes his music as “somewhere between euphoria and melancholy,” which is also an apt description of Eden itself.
  23. At Berkeley works beautifully as a picture of compromised activism; viewers who summon the patience to commit to its indulgences won’t feel shortchanged, even if next year’s freshmen are.
  24. Hardly the heady stuff of "Frost/Nixon"--or then again, maybe exactly the same thing. This one’s more rude and fun.
  25. An Arabic-German coproduction, it is a rare movie shot entirely in Saudi Arabia, which has no cinema industry to speak of, and the first feature by a female filmmaker from that country. Forbidden from mixing with the men in her crew, Al-Mansour often directed via walkie-talkie from the back of a van.
  26. Toward the end of the film, a few hard-hitting cuts between young and old brings the title's meaning home: These children have an inescapable life of drudgery before them, and there's little likelihood it will change anytime soon.
  27. Blue Valentine has a quiet, resigned wisdom to it.
  28. The movie isn’t quite suitable for the extremely young, but its apocalyptic tint may be catnip for smart preteens. They’ll breathe in the chilly air of a mysterious forest--the way forests should be.

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