Time Out New York's Scores

  • Movies
For 2,806 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 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Fifi Howls from Happiness
Lowest review score: 0 Vampires Suck
Score distribution:
2806 movie reviews
  1. You could hardly ask for a more beautiful vision of souls in transit.
  2. What you see and hear always seems perfectly natural, even if you can't exactly say why. Who needs words when you have cinema?
  3. 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.
  4. The final KO of a brilliant cinematic one-two punch, Leos Carax’s follow-up to his gobsmacking feature debut, Boy Meets Girl (1984), proved this enfant terrible was no one-hit wonder. Boy still meets girl, in the form of feral Denis Levant and gorgeous Juliette Binoche, but this sophomore outing’s real romantic coupling is an artist swooning head over heels for his medium.
  5. The attention to visuals is above and beyond what most vérité is capable of; doing double duty as the film's cinematographer, Fan demonstrates a pitch-perfect photojournalistic eye.
  6. It's a grandly entertaining reminder of everything we used to go to the movies for (and still can't get online): sparkling dialogue, thorny situations, soulful performances, and an unusually open-ended and relevant engagement with a major social issue of the day: how we (dis)connect.
  7. Voyage to Italy is the kind of movie that makes those unhappily in love feel understood. And even if that’s not you (congratulations), it’s still possible to groove on Rossellini’s stranger-in-a-strange-land psychodrama.
  8. Phenomenally sad yet exhilarating.
  9. There’s a quiet fury to Johnny Guitar, best embodied by Mercedes McCambridge’s vicious Emma, who wants to drive Vienna out of town. It’s a film that climaxes with a gunfight between two women, while the men hide behind tree stumps.
  10. This is Young in his playroom, grabbing his toys at random while indulging his every antimelodic whim, and Demme’s off-the-cuff approach makes for the perfect aesthetic complement.
  11. The meanings of Close-Up shift, subtly and profoundly, with every viewing; the only certainty is that its rewards are boundless.
  12. 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.
  13. 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.
  14. 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.
  15. Again, Granik has foregrounded a bold woman, expertly balanced between fearlessness and Ree's own private nervousness.
  16. 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.
  17. 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.
  18. 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.
  19. Exploitative as this may seem in theory, it works beautifully onscreen, mostly because of Binoche’s radiantly complicated humanity.
  20. Phillips goes too far sometimes (border-jail breakout?), but his new direction is promising.
  21. The story is a little slight compared to the grand romantic ache of Pride and Prejudice, but Beckinsale and Stillman do their inspiration proud: Finally, a Jane Austen movie that's fresh and deliciously rotten at the same time.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. Given the dreck we’ve seen this summer, it’s nice to be reminded of the virtues of clean storytelling and cultural curiosity.
  28. 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.
  29. 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.

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