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 Carlos
Lowest review score: 0 Vampires Suck
Score distribution:
2,784 movie reviews
  1. A lesser movie might hammer home the idea that the cult squashes Martha's sense of self. This distinctive and haunting effort implies something much scarier: that there is no self to start with.
  2. Despite being the subject of nearly every shot in the film, Hoss maintains an air of mystery, simultaneously projecting severity, sensitivity and sensuousness throughout.
  3. The oft-hilarious push-and-pull between director and subject - Williams wryly notes that the film is turning into "the Steve and Paulie Show" - effectively hacks away at the celebrity-enthusiast divide. By the end of this perceptive dual portrait, both men are content to merely be human.
  4. Perkins asks us to bask silently in the majesty of an artist in his element; in one unforgettable shot, Francis stands atop a newly finished canvas, utterly transfixed. It’s a stirring snapshot of that strange space where the act of creating can be a religious experience.
    • 75 Metascore
    • 80 Critic Score
    Thankfully, the actor-director prepares this potential recipe for hokeyness with all-natural ingredients, casting four of the feistiest biddies he could find, who are all the more endearing for being unadorned.
  5. Life During Wartime slices deeply into its characters' weaknesses.
  6. Its historical import as a peripheral civil-rights document can't be understated.
    • 47 Metascore
    • 80 Critic Score
    Roberta Torre’s debut takes true incidents from the Mafia wars that plagued Palermo in the late ’80s and kicks them into a deliriously gaudy farce.
    • 60 Metascore
    • 80 Critic Score
    The movie belongs to Hugo Weaving and David Wenham, both playing what one newspaper dubs "the lost children of the Empire," men broken by the appalling conditions that met them in their new homeland.
  7. At its best (which is often), director James Marsh’s affecting biopic of the cosmos-rattling astrophysicist Stephen Hawking plays deftly against schmaltz.
  8. A collective sense of psychological turmoil seems to weigh heavily on the entire country as much as Champ, reaching critical mass once chaos creeps into the city-leading to a quiet, climactic walk into darkness that earns the right to be called haunting.
  9. This potent emotional undercurrent goes a long way toward counteracting the movie’s clumsier moments, carrying us aloft to a finale that, in its strange mix of trepidation and tenderness, is truly sublime.
    • 77 Metascore
    • 80 Critic Score
    Angio reveals a band that is still committed and, almost without precedent, still seems to get along. “We weren’t musicians,” singer-guitarist Jon Langford admits. “We were just seeing how far we could take it.” If revenge can be measured in years of continued creativity, this film shows the Mekons have had theirs.
  10. Crawford has produced an inspiring primer, sure to remind viewers that the power has always been in their hands.
  11. A moving meditation on history, knowledge and mortality.
  12. Provocatively, the film suggests that winning small battles was victory enough; Saigon natives, also interviewed, were left behind to endure death camps.
  13. Unusually moving (not only to stray film critics in your crowd), director Steve James's keen profile of the late, great Roger Ebert works both as a compact appreciation of the reviewer's vast public impact, as well as an unflinching peak into a cancer patient's final months, fraught with pain, hope and constant treatment.
  14. By boiling a dysfunctional couple down to a worst-hits clip reel, the director created one painful autopsy of an affair, the polar opposite of those frolicking montages so prevalent in American rom-coms. (He's also gave his actors a hell of a valentine; neither Yanne nor Jobert has ever been better.)
  15. Would be fascinating by virtue of its subject alone. But the filmmaker wisely emphasizes how Harris also represents something bigger; this isn’t just the story of one man but also the dawning of the virtual über alles age and the death of privacy.
  16. His own worst enemy, Finkelstein has both trouble and tragic writ large on his brow.
  17. Ferrara’s unconventional methods only manage to serve Chelsea on the Rocks, his loving portrait of Manhattan’s boho landmark, the Chelsea Hotel.
  18. If you know nothing of the concentrated work of France's Robert Bresson, it's almost a crime to start here - like launching yourself, on the "expert" level, into the most boring, baguette-laden video game ever.
  19. This is still one of his (Berlinger) most ambitious films, vibrating with the same municipal unease as "Chinatown."
  20. The strength of Animal Kingdom is its slow-building fatalism; the criminals' luck runs out, but then finds depressing extension via an out-of-left-field collaborator. It's a movie that has very little faith in authority, not even in Guy Pearce's righteous detective. The only law here is Darwin's.
  21. The mostly dialogue-free middle section is a scare-film master class - and when a becalmed smile does finally cross his lips, it's in the most giddily mordant of circumstances. As Arthur embraces the darkness, so does the darkness embrace us.
  22. The film isn't blinded by Candy's beauty and celebrity; it digs critically, if still empathetically, beneath.
  23. Jean Gentil shares a certain searching quality that marked the best of Bresson's films - and for once, the inevitable analogy with his work seems appropriate.
  24. 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."
  25. Scorsese, that sly spiritualist, is out to make us sick on commerce and greed run rampant. He moves us beyond the allure of avarice so that we might take better stock of ourselves. What starts as a piggish paean becomes, by the end, an invigorating purge.
  26. Cynthia Nixon commits wholly to her role’s maternal patience and scattered mental decay, but it’s Abbott who really dominates James White.

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