Time Out New York's Scores

  • Movies
For 2,626 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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Nightcrawler
Lowest review score: 0 Vampires Suck
Score distribution:
2,626 movie reviews
  1. The ideologies underlying Andersson’s oft-astonishing succession of extreme wide-angle, vanishing-point tableaux are a decidedly acquired taste.
  2. Yet it's impossible to shake the sense that what felt thrillingly, cohesively alive in the director's earlier movies plays here with more laurel-resting creakiness than go-for-broke verve. Russell's once-mercurial assets have become a formula.
  3. Novelistic is a term that gets thrown around a lot these days, but Diaz’s film more than earns the adjective, and you’d have to go back to Edward Yang’s "Yi Yi" to find another movie that approaches a marathon-length running time yet still makes you wish it were twice as long.
  4. This is a life lived, perhaps not always well, but certainly to the fullest.
  5. The plentiful pop-doc touches ensure that this wake-up call won't put you to sleep, even if the ratio of spoonfuls of sugar to medicine occasionally seems skewed.
    • 80 Metascore
    • 100 Critic Score
    It's hardly the first movie to deal with thimble-size protagonists, but it's one of few animated fairy tales to genuinely transport the audience into their world and, in the process, let us see our own with fresh awe and respect.
  6. It is during Melancholia's second half, after a ruinous conclusion to the wedding, that the real magic happens, with our heroine hardened into a wry, cynical Cassandra - the voice of Von Trier himself.
  7. Olsson requires us to connect the dots to today's struggles (a missed opportunity), but his discoveries are more than sufficient.
  8. Director Lauren Greenfield has a catty eye, but she's not after simple schadenfreude as the Siegels' time-share hotels are foreclosed, the kids have to fly coach [gasp], and poops go unscooped by a phalanx of laid-off servants.
  9. Even on its own limited, rigorous aesthetic grounds, there are far superior movies (including all of Tarr's own work). It's a sad way for the 56-year-old to go out, almost a caricature of his funereal mood and of art cinema in general.
  10. To make a Western now is in itself a subversive act. Improving, embellishing and reclaiming an old-fashioned oater from the vintage studio-cheese bin with such humor and vigor seems truly, truly ballsy.
  11. Shots of the kids and their friends running around unfamiliar environments have the fantastical qualities of Spike Jonze's "Where the Wild Things Are," minus the forced whimsy.
    • 80 Metascore
    • 80 Critic Score
    This teen drama from Ireland is split almost perfectly down the middle: First, 40 understated minutes following a local golden boy named Richard (Jack Reynor) as he enjoys his last summer before college, trailed by 40-odd gut-wrenching minutes surveying the fallout from a single violent act he foolishly commits at a party.
    • 80 Metascore
    • 80 Critic Score
    Never saccharine, My Dog Tulip does justice to the rare experience of heartfelt, mutual love in any form
  12. Majewski's film is a dazzling master class in visual composition.
  13. There's a wild, "Miami Blues"–like dreaminess to the movie that's addictive. If anything, it shows up exactly what "Little Miss Sunshine" lacked: plenty of ammo.
  14. The plot’s tired blood is jumped up considerably by style; all in all, it's an intoxicating blend of eerie horror and ’80s pop, made by an artist to keep an eye on.
  15. Room 237 asks that you bring your own noodles; as docs go, it leaves you with questions, some worry and rib-sticking satiation.
    • 80 Metascore
    • 80 Critic Score
    It’s hard to imagine a figure more courageous than activist David Kato: an out gay man—Uganda’s first, he says — who lives in constant peril from both private citizens and a government that wants to make homosexuality punishable by hanging.
  16. The creepiness builds with symphonic precision until reality truly is indistinguishable from fantasy.
  17. It’s wonderful to think that a movie is, for a change, ahead of you.
  18. Brava, Mia! The exceedingly talented Ms. Hansen-Løve (the writer-director of Father of My Children) is sure to win many more fans with her latest feature, an incisive, exhilaratingly frank examination of l'amour lost.
  19. As subcultural anthropology, it’s unassailable. Yet the often ugly-looking DV aesthetic dilutes the cumulative effect.
  20. These characters are more than what we see on the surface, and it's thanks to Leigh's rigorous yet generous eye that we never just gawk at the drama.
  21. The director races far too quickly to get to his ashes-to-ashes, dust-to-dust punch line. This is the film of a pretender, not a believer.
    • 80 Metascore
    • 40 Critic Score
    Berlinger and Sinofksy merely suggested Hobbs might be responsible for the crime; Berg goes in for the kill, inconclusive evidence and docu-ethics be damned. The queasy certainty with which the filmmaker jumps to her conclusions, however, is all too reminiscent of the original prosecutors' zeal. It's hard to imagine how someone could study this case for so long and yet miss its most critical lesson.
  22. The running time may make you blanch, but Connie Field’s seven-part documentary about the history and eventual dissolution of South African apartheid is well worth the commitment.
  23. Phenomenally sad yet exhilarating.
  24. As in his much-lauded "4 Months, 3 Weeks and 2 Days," the latest feature from Palme d’Or–winning filmmaker Cristian Mungiu takes a rigorous approach to the material. But where the previous film — about two women seeking a back-alley abortion — was a reductively dour slog, Beyond the Hills feels more caustically all-encompassing.
  25. The real heat of The Sessions comes from its pitch-perfect sense of place, the free-spirited Berkeley of the 1980s.

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