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 Another Year
Lowest review score: 0 Vampires Suck
Score distribution:
2,626 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. It's a hypnotically perverse film, one that redeems your faith in studio smarts (but not, alas, in local law enforcement, tabloid crime reporting or, indeed, marriage).
  6. 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.
  7. See this film immediately.
  8. You can't necessarily blame Wahlberg, as his modest performance is the one element that feels truly authentic and heartfelt.
  9. Frank Pavich’s fun documentary captures an unbowed, exuberant Jodorowsky, who recalls his team of “spiritual warriors” with the camaraderie of a battle-scarred veteran.
  10. Mileage will vary from viewer to viewer as to whether this singularly eccentric movie is ultimately illuminating or enervating.
  11. Bong is so concerned with whodunit that his creaky genre mechanics diminish Kim's determined performance.
  12. 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.
  13. With so many ideas to work with, why does Bell infantilize her elsewhere-confident main character as yet another disheveled woman-child?
  14. 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.
  15. A title like that needs balls of brass to back it up. Luckily, this fiery college comedy from feature-debuting writer-director Justin Simien, loosely inspired by a series of scandalous black-face parties at all-white fraternities, is full of punchy intelligence and barely concealed anger.
  16. 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.
  17. 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.
  18. This is a drama about finding one's self-worth; you simply have to see it.
  19. The film isn’t exactly rousing in its conclusion, but it’s always respectful: a serious ethical inquiry into matters of women’s choice, both imposed and seized upon. Check it out.
  20. Director Luca Guadagnino is having so much fun setting up the Kubrickian chill (even Barry Lyndon's Marisa Berenson is on hand) that when Emma and the much younger Antonio finally come together in warming Sanremo, their tryst almost sneaks up on you.
  21. So why is this songwriter, so articulate on vinyl, so vague and spacey in current-day interviews? Something happened here, deeper than an aborted quest for fame, and the documentary hasn't gotten to it.
  22. Justice is blind - but there are cases where fingers start weighing down the scales. That's the j'accuse that Ra'anan Alexandrowicz's documentary puts forth regarding Israel's rule of law in its post-'67 occupied territories.
  23. Both a baroque thriller set in New York's ballet demimonde and a portrait of artistry as schizoid perfectionism, Darren Aronofsky's new film percolates parallel lines of fine madness-but then, doubling down on duality is this movie's raison d'etre.
  24. It’s a near-perfect portrait of a domestic tragedy as a master-and-servant psychodrama, one that leaves catastrophic collateral damage in its wake.
  25. Drive feels like some kind of masterpiece - it's as pure a version of the essentials as you're likely to see.
  26. Forget the snark about him ransacking Eric Rohmer's bag of tricks; the gentle ironies and droll, bitter wit here prove Hong is the French New Waver's heir apparent.

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