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 Attack the Block
Lowest review score: 0 Vampires Suck
Score distribution:
2,784 movie reviews
  1. Either via clay dolls or fragile flesh, the truth is unmissable—as is Panh’s film itself.
  2. Shoah's ultimate legacy, however, is being the final word on the Final Solution-one that renders every well-intentioned dramatic re-creation of such horrors into repulsive Ausch-kitsch by comparison.
  3. That’s the subtle level this movie operates on, and by the time it arrives at its powerhouse climax, a ruinous argument in a hotel room where all lingering doubts are finally and furiously outed, there’s nowhere left for them to ramble. They’re pinned down and have to improvise, but this glorious movie has infinite space to roam.
  4. Quietly, though, this amuse-bouche of a setup (culled from six episodes of BBC television) blooms into a meal of majestic agony. Coogan and Brydon's competitive bursts of celebrity impressions - Michael Caine comes in for special attention - take on a tone of clingy desperation, as does their jockeying for status in taunts of love, marriage and career.
  5. By the time they've taken full control of the movie's alternate universe-as the melodrama morphs with marvelous ease into a musical comedy-you feel like anything is possible. Cinema this alive is a rare bird, indeed.
  6. An aggressively unpleasant man somehow lands a perfect series of gigs in this rudely funny documentary: first as a pounding rock drummer who revolutionized the field; then as a fearless, rage-filled polo player; and finally as an impatient interviewee.
  7. That rarest of art documentaries, one that actually leaves viewers with a better sense of the gifted versus the phony.
  8. And though not all of Lonergan's conceits work on a scene-by-scene basis (an upper-crust womanizer played by Jean Reno skews a bit too close to caricature), the film has a cumulative power-solidified by a devastating opera-house finale-that's staggering. This is frayed-edges filmmaking at its finest.
  9. Filmmakers from Jacques Rivette to Hou Hsiao-hsien have treated the City of Light like Alice’s rabbit hole; writer-director Hong Sang-soo similarly embraces the fantasy, but goes one step further in this extraordinary character study by fully erasing the line that separates the actual from the fictional.
  10. Blessed with a weeklong run at the end of Film Forum's bliss-inducing Robert Bresson retrospective, the French filmmaker's 1956 tale of steel bars and iron wills boils a true-story prison break down to its bare necessities.
  11. Gallo and Dalle are sublimely tragic figures; the scene in which Shane stalks around Notre Dame like Frankenstein unleashed is a pitch-perfect encapsulation of the way the film plays with and deepens movie-monster archetypes.
  12. This time around, the director documents a 2011 Young solo show in Toronto (the musician's birthplace), but in an intentionally fractured way.
  13. But mainly, it’s the film’s folk music that roots in the heart like a faraway lure.
  14. The acting, especially from Menash Noy as an ineffectual attorney, is phenomenal, resulting in a feminist knockout told in inverse.
  15. Nichols has said that the idea for the film emerged from a free-floating anxiety that he sensed in the world at large, the feeling that everything we treasure in life could be lost in an instant. That sensation permeates this strikingly original movie - especially its enigmatic mind-fuck of a finale, which will haunt you for several lifetimes.
  16. Indeed, you leave the film feeling like Wiseman has given you a glimpse of one of those ephemeral ports in a storm to which all of us retreat at times.
  17. It is the richly evocative performances of Marion (aggressive yet enticing) and Merhar (wearing world-weariness like an aged suit) that cut deepest.
  18. A paranoid police procedural, a perverse parable about the corrupting elements of power, and a candidate for the greatest predated Patriot Act movie ever, Elio Petri's stunning thriller makes no attempt to hide the culprit behind the film's grisly murder.
  19. Blue Valentine has a quiet, resigned wisdom to it.
  20. Shockingly modern and the most politically enlightened (and enlightening) comedy of the 1930s, Leo McCarey's winning quasi-Western is a model of Hollywood broad strokes coalescing into a sophisticated whole.
  21. As gritty as Heaven Knows What often feels, it’s leavened by empathy and poetic moments: desperate kisses, a passed-out couch nap lit by slanting sunbeams, the beautifully eerie synth music of Tomita. This isn’t an easy watch, but it validates every risk we want our most emboldened filmmakers to take.
  22. You might actually say the documentary itself is Mohassess’s final canvas, so infused it becomes with his alternately infuriating and infectious personality.
  23. Why do we care? Because never before have the steps to thugdom, as depressing as that destination may be, been so rigorously detailed, neither romanticized nor negated. Don’t miss.
  24. The film plays like a better episode of "Mad Men," pitch-perfect in its details yet fully lived-in: a universe of rolled-up shirt sleeves, sweat-laden brows and screams that don’t sound canned.
  25. 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.
  26. Its stunningly composed images showing how Isaac is himself something of a ghost-given to staring off into the distance, being condescended to by those around him, a man perpetually outside the times. What he needs is to take that one extra step toward his spectral siren; the scene in which he does so might be one of the most exhilarating visions of death's sweet embrace ever filmed.
  27. The most gratifying thing about the film is feeling Moodysson’s warmth return to him.
  28. This spry, sharp and relentlessly clever middle finger to censorship is Panahi’s boldest act of defiance to date.
  29. You could hardly ask for a more beautiful vision of souls in transit.
  30. What you see and hear always seems perfectly natural, even if you can't exactly say why. Who needs words when you have cinema?

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