Time Out New York's Scores

  • Movies
For 2,534 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 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 A Serious Man
Lowest review score: 0 Vampires Suck
Score distribution:
2,534 movie reviews
  1. This isn't the kind of doc to explain everything (or anything, really)-it does honor its subject, though, and that's plenty.
  2. Despite his repentance, you sense that this lost soul will be confessing his sins for all eternity.
  3. By the time you realize how stealthy the film's critique has been, you've already fallen right into its trap.
  4. It's here, in a keenly captured Forest Hills, Queens, land of low-lit bars and manicured lawns, that Roadie soars as a gently comic drama about living the dream - or trying to.
  5. When the action eventually switches to an Austrian rehab retreat, Dalle gets to make like the best of the Old Hollywood divas and waste away with devastating reserve - an icon quietly, crushingly crashing to earth.
  6. 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.
  7. Parenting relies on stamina as much as compassion, and Donzelli has, against all odds, crafted a genuinely moving ode to both the tenacity of filial love under extreme circumstances and the toll it extracts. Consider this a coup.
  8. There's still tremendous vitality here, and Wheatley's avoidance of yet another Guy Ritchie gabfest is a pleasure in itself.
  9. 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.
  10. Return is almost too underdramatized to seem like a piece of today's zoomy entertainment, but its anxieties-the bare cupboards, the vague sense of purposelessness-are at the heart of the American experience for many. It's what indie filmmaking ought to be.
  11. Armed with archival footage and wrenching interviews, filmmaker Chad Freidrichs revisits one of our nation's darkest hours - and emerges with a scrupulous, revelatory consideration of the varied factors that turned a worthy plan into a horrific, state-sanctioned nightmare for a generation of working-class African-Americans.
  12. First-time director Josh Trank, working from a taut script by Max "Son of John" Landis, indulges in some wild, witty spectacle, but he's equally adept with the tale's grimmer elements, especially when the introverted Andrew unleashes his inner Magneto and uses the city of Seattle as his tear-it-apart emotional playground.
  13. They've given their star one rotten peach of a role, and Depardieu makes the most of it. Because of him, such surreal Gallic scuzziness has rarely seemed so sweetly tender.
  14. Watching the formerly spry Harris struggle to maintain a normal life (he's frequently glassy-eyed and jacked on painkillers) emphasizes the underappreciated sacrifices our men and women in uniform make in the name of vaguely defined ideals.
  15. Brace yourself and go see it.
  16. Moments like these turn the documentary Undefeated into a far greater thing than a real-life "The Blind Side" - it's diving deeply into knotty matters of patience and parenting, along with plenty of unfixables as well.
  17. The only time a subject directly addresses Takesue, it's with a doozy of a query: "Why are you taking my story to USA, New York?" The answer is as complex as the film itself, and as simple as deciding to not look away.
  18. Deeply irresponsible, this a film that will give parents seizures-and Roger Corman a big old smile.
  19. Attenberg shares with the Oscar-nominated "Dogtooth" a weakness for overgrown innocence and deadpan perversity.
  20. 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.
  21. Losier has made a quietly revolutionary work that treats a pair of people on the fringes with the decency all humans deserve.
  22. You will see the man toiling and revising - killing off half-good ideas, struggling for clarity - and it's a routine well worth demystifying.
  23. If the movie had a lead actress more delicate or malleable than the strong-cheeked Lawrence-a Natalie Portman, say-it would tip over into sexy-girl-killer celebration; the same goes for Harrelson's salty mentor, who is never too supportive or paternal. Both performers lean into the economies of survival, certain of the savagery that lies ahead, and come up with sharp work.
  24. It's the stuff of melodrama, heightened by Davies's pitch-perfect use of pop songs, like a sad "You Belong to Me," slurred by a misty crowd in a bar.
  25. Too many movies come to us as preordained cult objects - this is the real deal.
  26. Lockout is the kind of manly nonsense no one wants to make anymore.
  27. Charmingly, like a throwback to the pre-Twitter age, here's a horror film that's been made with no reasonable way to discuss it beforehand.
  28. 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.
  29. 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.
  30. 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."

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