Time Out New York's Scores

  • Movies
For 2,467 reviews, this publication has graded:
  • 31% higher than the average critic
  • 2% same as the average critic
  • 67% lower than the average critic
On average, this publication grades 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Keep the Lights On
Lowest review score: 0 Vampires Suck
Score distribution:
2,467 movie reviews
  1. It’s wonderful to think that a movie is, for a change, ahead of you.
  2. 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.
  3. As subcultural anthropology, it’s unassailable. Yet the often ugly-looking DV aesthetic dilutes the cumulative effect.
  4. 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.
  5. 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.
  6. 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.
  7. The Aatsinki siblings never rise past a kind of rotely anonymous masculinity, and overall the film tends to lull rather than engage the senses.
  8. Phenomenally sad yet exhilarating.
  9. 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.
  10. The real heat of The Sessions comes from its pitch-perfect sense of place, the free-spirited Berkeley of the 1980s.
  11. Establishing character, conflict and environment with astounding economy in the film's first ten minutes, Rees demonstrates the sort of filmmaking chops and personal storytelling (the director claims she drew on her own coming-out experience) that suggests the low-key epiphanies of Amerindie cinema at its best.
  12. Given the months-long hype, what’s most bewildering about Sundance sensation Precious is its overall shrug-worthiness.
    • 79 Metascore
    • 80 Critic Score
    McElwee's quietly reassuring voice dominates the film, but that doesn't mean he can't craft a magnificently eloquent image when he wants to, as in the moment when he frames Adrian, seated in a coffee shop, inside his own reflection in the shop's front window.
  13. It's easy to think of comics, especially time-tested ones like Rivers, as mechanical laugh-generators. Stern and Sundberg allow her to reveal the deep-rooted humanity of those ever-present quips, and the effect is humbling.
  14. In lesser hands, this could have easily been some seriously detestable John Wayne jingoism. But via Fiennes, the film is a spiky and complex counterweight to Hollywood sentiment and indie cynicism alike.
  15. The attention to detail is fine-grained, especially on the slippery slope of plea bargaining. Missing are two pieces that might have turned this into an urban classic.
    • 79 Metascore
    • 60 Critic Score
    To its credit, Wagner's Dream includes revealing footage of Promethean labors undertaken by cast and crew, misfires included.
    • 79 Metascore
    • 40 Critic Score
    With its high-energy music and graffiti-style graphics, The Crash Reel plays like the slick promos NBC uses to repackage every Olympian’s story into a pat narrative.
  16. See this film immediately.
  17. You can't necessarily blame Wahlberg, as his modest performance is the one element that feels truly authentic and heartfelt.
    • 79 Metascore
    • 80 Critic Score
    While most film romances feel like a fait accompli, Enough Said’s tentative fumblings toward bliss require, and merit, fighting for; its wanderings are never less than pleasant and its final moments pack surprising emotional power.
  18. Mileage will vary from viewer to viewer as to whether this singularly eccentric movie is ultimately illuminating or enervating.
  19. Bong is so concerned with whodunit that his creaky genre mechanics diminish Kim's determined performance.
  20. The man himself has rarely been profiled without noticeable reluctance, though documentarians Molly Bernstein and Alan Edelstein delve fairly deep by allowing their subject to guide them where he may.
  21. With so many ideas to work with, why does Bell infantilize her elsewhere-confident main character as yet another disheveled woman-child?
  22. The 20-year-old Hubble Space Telescope--whose repair mission is the subject of this chronicle--turns out to be a bit of a stage hog, and audiences expecting a blissout of swirling galaxies will wonder why so much time is spent on astronauts sweating over screws and bolts.
  23. The movie works on a bedrock level that many ostensible action films forget. Let New Age viewers in your crowd get misty-eyed - there's plenty here for anyone.
  24. The new Let Me In does more than merely preserve the original's mood; it actually improves on it.
    • 79 Metascore
    • 60 Critic Score
    The feverish intensity of enthusiastic birdwatchers may seem better suited for a Christopher Guest movie, but director Jeffrey Kimball's lush cinematography makes Central Park's beauty no laughing matter.

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