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. Unlike "The Wrestler," which Siegel scripted, Big Fan has a way of making a socially marginal figure seem oddly charismatic without stacking the sympathy deck.
  2. The real drama in Parnassus comes from the troupe of sideshow performers, led by a terrifically morbid Christopher Plummer.
  3. The man himself stares into Davis's lens, both confident and scared; for these moments alone, the movie is key.
  4. The pieces here are wonderful, even if the documentary fails to make any kind of overall analytical point.
  5. His look at an Old World continent reeling from the New World values is both thrilling and damning.
  6. If this profile is marred slightly by thematic tidiness and a willingness to overglorify the champion's rise (Fischer didn't even write his best-seller, Bobby Fischer Teaches Chess), it still supplies a cracked, conflicted genius trapped in his ceaseless endgame.
  7. Deeply irresponsible, this a film that will give parents seizures-and Roger Corman a big old smile.
  8. This muted mobster story reminds us that the ties that bind can also gag you, garrote you and slowly deaden your soul.
  9. And by the time Thornton has deftly flipped the script regarding the titular Biblical parable's misogyny, you'll feel as if Aussie cinema has indeed discovered its next great voice.
  10. A complex final scene — in which everyone finally lets the tears flow — only deepens the sense that well-meaning mother love can be as poisonous as it is nourishing.
  11. This is a life lived, perhaps not always well, but certainly to the fullest.
    • 68 Metascore
    • 80 Critic Score
    A meandering middle and sticky-sweet third act can be overlooked if only for the savviness with which Favreau portrays the food world.
  12. It teases out the distinctly modern subject of celebrity profile-writing, a rare one for the movies, detouring into avenues of attraction and envy.
  13. Walker integrates stranger-on-the-street testimony to further her general vibe of ignorance, thus pinpointing the true target of an agitated doc--our own blithe apathy.
  14. Brazilian filmmaker Júlia Murat's first narrative feature is a mesmerizing, slow-build marvel.
    • 78 Metascore
    • 80 Critic Score
    While most film romances feel like a fait accompli, Enough Said’s tentative fumblings toward bliss require, and merit, fighting for; its wanderings are never less than pleasant and its final moments pack surprising emotional power.
  15. Stations of the Elevated plays like a time capsule, particularly for having no dialogue or plot. It swings to Charles Mingus’s hardest bop and evokes a long-gone city, somehow more adult and confrontational even in silence.
  16. You'll be arguing with your friends about the ethics of secrecy and defense for hours; that's what makes these exit interviews so essential. They come late to the spy game, but are welcome regardless.
    • 54 Metascore
    • 80 Critic Score
    What makes things different is the way Blumberg strikes an assured balance between dour downward spirals and “work the program” uplift, gifting these flawed people with both a sense of hope and the knowledge that it will never be enough.
  17. For a movie that's essentially about a piece of hardware-the legendary Neve mixing console, an imposing slab of knobs and meters - this geeked-out documentary beats with more heart than could be imagined.
  18. The unspoken theme underlying Dickens’s prose--that the money-grubbing Ebenezer is conversing with semblances of his own self--finds near-perfect cinematic expression through Carrey’s efforts.
    • 80 Metascore
    • 80 Critic Score
    This teen drama from Ireland is split almost perfectly down the middle: First, 40 understated minutes following a local golden boy named Richard (Jack Reynor) as he enjoys his last summer before college, trailed by 40-odd gut-wrenching minutes surveying the fallout from a single violent act he foolishly commits at a party.
  19. The unveiling is unnerving, and suggests that some dangers are now permanently beyond our control.
  20. Almost as an afterthought to the ringingly true performances--and Marco Bellocchio’s unusually approachable direction--comes a deft analysis of fascism, likened to lovesickness, insanity and a gust of orchestral strings. It’s all of that and more, not to mention a lousy matchmaker.
  21. This isn't the kind of doc to explain everything (or anything, really)-it does honor its subject, though, and that's plenty.
    • 71 Metascore
    • 80 Critic Score
    The results do justice to a complex genius whose impact can scarcely be overstated.
  22. It’s another fascinating entry in the director’s ongoing exploration of the sadistic and masochistic facets of human behavior.
  23. 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.
    • 52 Metascore
    • 80 Critic Score
    It’s a gut-wrenching yet redemptive tale of fathers, sons and the horrors of war, which Marder allows to unfold with minimal intrusion or manipulation.
  24. Brace yourself and go see it.

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