Time Out New York's Scores

  • Movies
For 2,701 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 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Ruggles of Red Gap (1935)
Lowest review score: 0 Vampires Suck
Score distribution:
2,701 movie reviews
  1. 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.
  2. 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.
  3. A mesmerizing study in excess, Peter Jackson and company's long-awaited prequel to the Lord of the Rings saga is bursting with surplus characters, wall-to-wall special effects, unapologetically drawn-out story tangents and double the frame rate (48 over 24) of the average movie.
  4. Best seen on the big screen; even those with a cursory grasp of avant-garde cinema are likely to come away with their minds opened and altered.
  5. It's not an easy sit; we're never let off the hook with golden-hued memories or belated bits of wisdom. Maybe this is love after all.
  6. Inspiring heartbreaker of a documentary.
  7. This installment delivers a heavy and welcome dose of paranoia, administered between fleetly paced smackdowns.
  8. The spirit of the movie is nonjudgmental, an observational intimacy that, in turn, becomes inspiring.
  9. What’s past is prescient, and what it all means is beside the point. Let’s just say Bujalski has made a prankishly out-of-time movie about that other AI: mankind.
  10. Push any guy long enough with alcohol and aggressive masculinity, the film suggests, and you'll find an XY-chromosomed predator lurking behind the mask.
  11. The film suddenly gains in power, until it fulfills the promise of its title with hard-hitting compassion and a crystal-clear sense of grace.
  12. Arnold's vibrant, Malickian adaptation has another bold stroke worth mentioning: Heathcliff, a Gypsy in the original text, is now an Afro-Caribbean former slave, initially a bruised teen (Glave) and then an unusual, self-made man (Howson).
  13. Tomboy may add little to conversations about gender or sexuality. It has everything to say, however, about that period of childhood when identity is at its most malleable.
  14. The filmmaking is patient and participatory, getting down in the dirt with the workers (in one case the lens is even soaked by a spray of sludge) and allowing several touchingly distinct personalities to emerge.
  15. Jendreyko elegantly sketches in the details of his subject's life and the historical events surrounding her coming-of-age-out of which emerges a fascinating subtext about the malleable powers of language.
  16. Meier is clearly carving out a path all her own; the next one should be a gem.
  17. There are no lava-spewing natural phenomena or gut-wrenching slaughterhouse sequences in this unofficial companion piece, but you do witness sex tourists in Bangkok choosing numbered "girlfriends" as if they were picking out lobsters in a tank.
  18. There's still tremendous vitality here, and Wheatley's avoidance of yet another Guy Ritchie gabfest is a pleasure in itself.
  19. Though it’s divided into three chapters--“Voices,” “Recollections” and “Innocence”--the film takes a largely free-form look at a dying community that’s more reminiscent of Frederick Wiseman’s nonfiction case studies than the usual sociopolitical hand-wringing.
  20. Hollywood movies have rarely spoken such tough and tender truths.
  21. Though the film wraps up its spinning-plates narrative a little too neatly, this is still a Scandi-noir to die for.
  22. Fortunately, Oppenheimer keeps the film focused on the highly complicated Anwar — a charismatic devil if ever there was one — observing as this strange reckoning with the past slowly breaks down his defenses.
  23. No one else has come close to translating England's homegrown blend of deadpan and madcap for a younger audience, much less with such impressive Claymated technique. You couldn't ask for better lesson in "Anglo-Absurdism for Beginners."
  24. The film occasionally skews a little on the PBS-dry side, but in terms of looking back on a legacy of American skullduggery and high-level shenanigans, its access and acknowledgment of our dark past make for one intimate indictment.
    • 68 Metascore
    • 80 Critic Score
    Although several sections deal with the Ceausescu-era party apparatus, Mungiu's interest lies more in how the nation's political confusion affected the general populace. It's history told from the bottom, where what everyone thinks happened matters as much as what actually did.
  25. Short Term 12 isn’t without drawbacks, occasionally dipping into a too-neat narrative tidiness and a self-conscious sloppiness. Yet the film’s charms and ability to cut through jadedness despite the subject matter makes it a rarity — a modest indie that’s feels like it’s in it for the long haul.
  26. Blackfish, a troubling exposé of Sea World’s hazardous entertainment trade, does much to restore a realistic sense of danger, interviewing former park workers who detail their shoddy, nonscientific training, and chronicling the much-suppressed history of whale-on-human violence.
  27. Nothing here is new, but you can’t call expert craft like this warmed-over. Solidly satisfying with ruthless forward momentum, the film plays like a minor triumph.
  28. To the Wonder is arty for sure, but for the first time, its maker is working with anxieties we all feel. Let’s hope this Malick sticks around for a while.
  29. Plays like a gothic prequel to David Cronenberg's "A Dangerous Method," one in which human flesh is viewed as both horrific and erotic terrain.

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