Time Out New York's Scores

  • Movies
For 2,653 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 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Mauvais Sang
Lowest review score: 0 Vampires Suck
Score distribution:
2,653 movie reviews
  1. The meanings of Close-Up shift, subtly and profoundly, with every viewing; the only certainty is that its rewards are boundless.
  2. The final Harry Potter movie, above all others, supplies Radcliffe with the gravitas of not just an epic story come to completion, but some real dramatic heft. Not so bad for a Hogwarts dropout.
  3. 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.
  4. Though McQueen continues to work his themes of suffering and spiritual transcendence, this unflinching, unforgiving drama is not about a slave, but about slavery itself.
  5. Again, Granik has foregrounded a bold woman, expertly balanced between fearlessness and Ree's own private nervousness.
  6. Of all the things to be nostalgic about, warfare would seem the least likely candidate, but that's the unusual perspective of this one-of-a-kind 1943 landmark - maybe the most wonderfully British movie ever made.
  7. Amer could exist only as a movie, not as a novel or a pop song. If you give it a whirl, you won't simply get drunk on its immediacy; you may throw out plot and character altogether.
  8. See this film immediately.
    • 87 Metascore
    • 90 Critic Score
    There is always an interesting tension in Cameron's work between masculine and feminine qualities. When it finally hits the fan here, we're in for the mother of all battles.
  9. Exploitative as this may seem in theory, it works beautifully onscreen, mostly because of Binoche’s radiantly complicated humanity.
  10. Phillips goes too far sometimes (border-jail breakout?), but his new direction is promising.
  11. Neither Reilly nor Tomei have ever seemed so effortlessly funny, and whoever thought to cast one of Judd Apatow's regulars as a dysfunctional, disturbed manchild should be dubbed a genius.
  12. 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.
  13. By movie’s end, you see flocks of umbrella-adorned commuters in a different light; and what’s often viewed as Japanese humility becomes a doorway to something huge and eternal. Bring the kids.
  14. 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.
  15. These two trash-talkin’ Picassos may or may not end up getting their due, but Leon and his two extraordinary actors (especially Washington) have already put us squarely on the side of the beautiful losers regardless.
  16. Given the dreck we’ve seen this summer, it’s nice to be reminded of the virtues of clean storytelling and cultural curiosity.
  17. Suddenly, everything clicks; this snooty art merchant may love the sound of his own voice, but you're reminded how much Rohmer valued the sound of others' voices above all, and why going out on a whimper occasionally works wonders.
  18. Skyfall has the feel of both a ceremonial commemoration and a franchise-rebooting celebration, especially in the ways it attempts to too cutely sync up the '60s-era Bond mythos (casual misogyny and all) with the more complicatedly "Bourne"-inflected recent episodes.
  19. Lyrical touches and the most moving use ever of Katy Perry's "Firework" almost cancel out a cheap-shot third-act tragedy, yet it's the actors that save the film from soaping itself into Euro-miserablist irrelevance.
  20. Indeed, the doc works best as a relationship study, filled with endearing moments of intimate bickering. Takei is a self-admitted ham but a playful one, projecting his confidence in increasingly meaningful directions.
    • tbd Metascore
    • 80 Critic Score
    Come Back, Africa is a work of amazing grace - and a forgotten treasure.
  21. West is far more adept at and interested in sustaining an unrelentingly ominous mood than in executing the genre-required spook shocks.
  22. Another Earth is a movie you take home and write your own ending to.
  23. What might have been a long walk off a short pier becomes a valid, vital rethinking of a crime classic.
  24. The rich atmosphere of the movie may be the sexiest thing about it: It’s no wonder these women breathe in the air of possibility and find themselves imbued with boldness.
  25. Russell Crowe's pained vocal stylings (they sound more like barks) as relentless Inspector Javert can be forgiven after hearing Hugh Jackman's old-pro fluidity in the central role of Jean Valjean, hiding a criminal past.
    • 69 Metascore
    • 80 Critic Score
    If Bastards is cold, it’s never clinical; rather, it’s a fully engaged, deeply moral movie about people who are neither.
  26. Though supported by Woodley’s subtle narration, The Fault in Our Stars is relentlessly outward. That’s part of the book’s inspiring touch, and even if some of the supporting cast comes off as merely functional onscreen, the core of the tragedy comes to life in a heartbreaking way.
  27. The Square offers more than just pictures of a revolution; it lets you into the mind-set of those fighting for their future, and that makes all the difference.

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