Time Out New York's Scores

  • Movies
For 2,699 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 The Immigrant
Lowest review score: 0 Vampires Suck
Score distribution:
2,699 movie reviews
  1. 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.
  2. Brace yourself and go see it.
  3. You will see the man toiling and revising - killing off half-good ideas, struggling for clarity - and it's a routine well worth demystifying.
  4. Director Christian Carion (Merry Christmas) establishes a low-key yet threatening atmosphere right from the start, and gets terrific performances from Kusturica and Canet.
  5. It's an equally insightful and excruciating journey, with our quip-ready protagonist perpetually caught between two modes: eager-to-please caffeinated and near-breakdown frustrated.
  6. There's savvy in Schwarzenegger's understanding of his appeal. Always foreign yet weirdly Americanized in our dreams, the big guy is a craggy monument in need of a countryside. He's back in the place that deserves him.
  7. It's a juicy story, though that doesn't excuse Jarecki from fixating above all else on the tabloid-ready twists and pop-psychological turns of Durst's story.
  8. Tsai’s work sees generational defiance as a symptom of the ennui felt by their young subjects as they drift into adulthood, and Rebels’ unusually sharp focus on that theme makes it an accessible primer for the elements that would inform the more oblique masterpieces to come.
  9. Director Thomas Vinterberg (The Celebration) has always enjoyed thumbing his nose at stuffy cinematic conventions, and while he’s obviously enchanted by Hardy’s text, his movie is fun because he’s keen not to give it too much respect.
  10. It really packs a punch (bet you saw that one coming).
  11. If you can roll with Almereyda’s free-form vibe, you’ll find the docu-essay’s cumulative effect goes a long way toward proving his thesis
  12. And then, Robert Duvall appears—or, should I say, insinuates himself out of the muck. Cagily, his character wends his way into the story, played by the one American actor who might best understand the limits of bluster. “It’s foolish to ask for luxuries in times like these,” he mutters in the Duvall twang, the weather and indignity beaten into him, and The Road suddenly feels major.
    • 66 Metascore
    • 80 Critic Score
    The film makes a compelling case for the damage wrought by business-funded feel-good activities that turn attention away from the disease, as well as using funds for endless drug research while ignoring the toxic environmental factors.
  13. Names get checked, baby-faced future celebrities like Vincent Gallo and Steve Buscemi make cameos, and various cross-pollinations between below–14th Street mavericks are clarified.
  14. The real richness of the movie, though, comes well in, as the improvised script gets around to deeper anxieties of aging and avoidance.
  15. Moments like these turn the documentary Undefeated into a far greater thing than a real-life "The Blind Side" - it's diving deeply into knotty matters of patience and parenting, along with plenty of unfixables as well.
  16. For a group with property assets in the billions, it’s a major piece of the puzzle, revealing a critical failing: For a religion with so much to give, why do they do so little for so few?
  17. Despite his repentance, you sense that this lost soul will be confessing his sins for all eternity.
  18. If Marcello Mastroianni’s character from "La Dolce Vita" hadn’t stepped off the sweet-life treadmill, this is exactly who he would have become.
  19. There are few artists better than Rivette at uncovering the magical (even at its most menacing) in the everyday.
  20. Even if the music leaves you cold, there’s plenty of captivating awkwardness here, like Paul McCartney listlessly watching the monitors in his dressing room, or producer Harvey Weinstein solving a tech issue by calling Google exec Eric Schmidt in the audience.
    • 68 Metascore
    • 80 Critic Score
    Rather than treat its subject as the sort of martyr to democracy that makes good copy in the West, Bhutto digs deeper.
  21. Saavedra, in an incredibly vanity-free performance, never shies away from Raquel’s darkest edges and still forces us to empathize with the frustrations and stunted loneliness of a life lived in servants’ quarters.
  22. Often, Faust plays like a lost cousin to Andrei Tarkovsky’s haunted Stalker (1979), catnip for the slow-and-low crowd. Settle in, because this requires your charity, but you’ll dream it all back up the next night.
  23. Anne Fontaine’s biopic transforms the designer’s early life into highbrow guilty-pleasure gold.
  24. Director Luca Guadagnino is having so much fun setting up the Kubrickian chill (even Barry Lyndon's Marisa Berenson is on hand) that when Emma and the much younger Antonio finally come together in warming Sanremo, their tryst almost sneaks up on you.
  25. It’s both a sly piece of ethnography and a social satire that reads like a cosmic joke…right up until its climax makes the chuckle catch in your throat.
  26. Director Nicolas Winding Refn, the prankster of last year's "Bronson," has never reduced his craft to such a sledgehammer of minimalism. Electric guitars drone on the soundtrack, bones crunch, and a mystical religiosity gathers around One-Eye; there's a midnight cult here for those who yearn for one.
  27. The film has a traditional appeal that's wholly separate from its surface.

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