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. You will see the man toiling and revising - killing off half-good ideas, struggling for clarity - and it's a routine well worth demystifying.
  2. Director Christian Carion (Merry Christmas) establishes a low-key yet threatening atmosphere right from the start, and gets terrific performances from Kusturica and Canet.
  3. 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.
  4. 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.
  5. 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.
  6. 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
  7. 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.
  8. 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.
  9. The real richness of the movie, though, comes well in, as the improvised script gets around to deeper anxieties of aging and avoidance.
  10. 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.
  11. Despite his repentance, you sense that this lost soul will be confessing his sins for all eternity.
  12. 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.
  13. There are few artists better than Rivette at uncovering the magical (even at its most menacing) in the everyday.
  14. 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.
  15. 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.
  16. 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.
  17. Anne Fontaine’s biopic transforms the designer’s early life into highbrow guilty-pleasure gold.
  18. 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.
  19. 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.
  20. 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.
  21. The film has a traditional appeal that's wholly separate from its surface.
  22. The first part of Deathly Hallows has plenty of invigorating imagery alongside the pro forma narrative elements.
  23. A darkly stylish horror film.
  24. Eventually it’s go time, and if The East loses a little steam on the grounds of action mechanics (a skill these plots always require), it’s never dumb on the subject of covert allegiances.
  25. The real heat of The Sessions comes from its pitch-perfect sense of place, the free-spirited Berkeley of the 1980s.
  26. What emerges is an illuminating, though terribly dismaying, portrait of the War on Terror’s lasting effects. Whether one retreats or steps out defiantly, there is no sanctuary.
  27. If any film could convince people that ACID is the patron saint of tomorrow's Godards, it's this one.
  28. First-time director Josh Trank, working from a taut script by Max "Son of John" Landis, indulges in some wild, witty spectacle, but he's equally adept with the tale's grimmer elements, especially when the introverted Andrew unleashes his inner Magneto and uses the city of Seattle as his tear-it-apart emotional playground.

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