Time Out New York's Scores

  • Movies
For 2,626 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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Margaret
Lowest review score: 0 Vampires Suck
Score distribution:
2,626 movie reviews
  1. 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.
  2. It's a sickening but stunning portrait of combat that looks past notions of bravery or brutality, guilt or innocence, to bear witness to a thoroughly besieged humanity.
  3. A collective sense of psychological turmoil seems to weigh heavily on the entire country as much as Champ, reaching critical mass once chaos creeps into the city-leading to a quiet, climactic walk into darkness that earns the right to be called haunting.
  4. The film isn't blinded by Candy's beauty and celebrity; it digs critically, if still empathetically, beneath.
  5. The Arbor's pummeling second half begins with the collapse of its celebrity subject; the following spirals of self-destruction make you suspect that some childhoods are simply too hard to escape. Tough, worthy stuff.
  6. Fantastical is what we get: Cameraman is filled with Cardiff's achingly beautiful work.
  7. As engrossing as it is maddening, Pierre Thoretton's documentary on the sale of Yves Saint Laurent's extensive art collection is perched somewhere between a sanded-edged official portrait and a keen examination of affluence run amok.
  8. This is prime Woody Allen - insightful, philosophical and very funny.
  9. What Lost Bohemia lacks in aesthetic presentation - first-time filmmaker Astor seems to have gathered footage without much forethought - is made up for by an intimacy familiar from home movies, revealing eccentric neighbors at their most frank and endearing.
  10. The unexpectedly wonderful thing about this sequel is that it actually improves on the jokes.
  11. Director Radu Muntean has pulled off the near-impossible, turning each scene (captured in capacious long takes) into arias of generosity for his actors.
  12. A movie with an unflinchingly tough heart.
    • 76 Metascore
    • 80 Critic Score
    Submarine may not be epic cinema, but in a modest way, it's close to perfection.
  13. This fascinatingly knotty movie never becomes a facile screed against the powers that be. Instead, it plays as a more relaxed and leisurely requiem for a slowly vanishing way of life, with sounds and images-a time-lapse contemplation of the cosmos is in the running for scene of the year-that are as mesmerizing as they are subtly pointed.
  14. The first major motion picture to come out of Congo in decades happens to be one of the best neonoirs from anywhere in recent memory.
  15. This film's effectively wrought communion between once-spooked man and animal is more than enough for any entertainment. It rides easily into your heart.
  16. R
    This unflinching parable brings the hammer down on its cinematic brethren's fetishization of cell-block Rockefellers. R's final shot says it all: The house wins. The house always wins.
  17. Battle offers both a sobering portrait of personal revolt (notably through activist Daniel Goldstein, whose eviction fight landed in the State Supreme Court) and a searing case study of a community dismantled by racial and economic tensions. Alas, it's not much of a battle; more like "Requiem for Brooklyn."
  18. 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.
  19. If you're even slightly interested in folk music, there will be something here to simmer that curiosity into a full-on boil: the Arabic trip-hop stylings of monomonikered rapper-singer Raiz, raspy Pietra Montecorvino's Stevie Nicks–like dance tunes, a gorgeous sax solo from local jazz legend James Senese.
  20. A movie that could terrify parents while charming them with its compassion.
  21. Though the characters are fictional, Polytechnique hews close to the facts regarding the 1989 incident, down to its misogynistic Marc Lépine avatar (Gaudette) separating "feminist" coeds in a classroom.
  22. It never feels as if we're watching a brand-name cash-grab, but instead as if we're participating in an endlessly imaginative afternoon of play.
  23. Another Earth is a movie you take home and write your own ending to.
  24. 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.
    • 63 Metascore
    • 80 Critic Score
    It's after the sex friends go back to being just friends that the film really hits its stride, and that's also when the excellent Patricia Clarkson and Richard Jenkins enter the picture as loving but imperfect parents who help explain what's made both leads so gun-shy.
    • 78 Metascore
    • 80 Critic Score
    In narrative terms, it's mostly an excuse to work in a trio of crooks whose banter may be even better than that of our hero; Mark Strong's disgusted rant about paying off policemen and Liam Cunningham – led musings on Bobbie Gentry's "Ode to Billie Joe" are enough to justify the entire movie on their own.
    • 58 Metascore
    • 80 Critic Score
    Life really sings when it's simply pulling together thematic montages - of waking up, food preparation or answers to the question "What do you fear?" - or letting a genuine moment unfold without comment.
  25. Gideon Koppel's free-form portrait of a Welsh farming community may be the most subtly poetic piece of cine-anthropology to come down the pike in eons.
  26. In one grease-monkey swoop, Glodell proves that he's a subversive talent worth following. Let a thousand of his future projects bloom.

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