Time Out New York's Scores

  • Movies
For 2,946 reviews, this publication has graded:
  • 34% higher than the average critic
  • 2% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Big Sick
Lowest review score: 0 Vampires Suck
Score distribution:
2946 movie reviews
  1. 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.
  2. Anne Fontaine’s biopic transforms the designer’s early life into highbrow guilty-pleasure gold.
  3. 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.
  4. 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.
  5. 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.
  6. The film has a traditional appeal that's wholly separate from its surface.
  7. The first part of Deathly Hallows has plenty of invigorating imagery alongside the pro forma narrative elements.
  8. A darkly stylish horror film.
  9. 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.
  10. The real heat of The Sessions comes from its pitch-perfect sense of place, the free-spirited Berkeley of the 1980s.
  11. 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.
  12. If any film could convince people that ACID is the patron saint of tomorrow's Godards, it's this one.
  13. 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.
  14. It isn't the first time death has figured in an Allen movie, but the way he grapples with it here (leaving each character at a moment of irresolution comparable to staring down the man with the scythe) is much more potent and direct.
  15. The movie's real asset is Reynolds himself, utilizing his comedy chops for unexpected levity.
  16. Seymour unfolds like a Jewish Jiro Dreams of Sushi—Bernstein may look like your average NYC grandpa, but he lives like a monk and talks like a guru.
  17. 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.
    • 75 Metascore
    • 80 Critic Score
    Along the way, director Chris Eska provides ample space for his principals to breathe, wisely homing in on the uneasy gaze of the guidance-starved Will, whose struggle will resonate with anyone charged with an unenviable task.
  18. A strong contender for both the artiest drug movie and the druggiest art movie ever made, Gaspar Noé's tour de force of forced perspectives and free-form grief is, in every sense of the word, a trip.
  19. When you have an actor as suggestive as Kazan, swallowing up the lens with allure and complexity, your writer-director becomes superfluous.
  20. The running time may make you blanch, but Connie Field’s seven-part documentary about the history and eventual dissolution of South African apartheid is well worth the commitment.
  21. 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.
  22. The lengthy final two shots (each running more than ten minutes) rank among the best work this inimitable artist has ever done.
  23. Buzzard is both deeply unfun and something you can’t take your eyes off. It gets our edge of recommendation because there’s real focus to it: Marty’s ambitions are so low (his life seems to climax while wolfing down a $20 plate of spaghetti in a hotel room) that you truly fear for the future. Meet the new slacker.
  24. Of Stallone’s surprisingly tender performance — a definitive late-career triumph — enough can’t be said
  25. It's a credit to both the actors and Franco-Algerian filmmaker Rachid Bouchareb (Days of Glory) that the film never dives headfirst into mawkishness.
  26. Stearns saddles himself with a touch more plot than he needs, and some of the film’s late-game twists are more satisfying than others, but Faults never loses sight of the one thing Ansel can’t see: Free will may come cheap, but most people still can’t afford it.
  27. Cuarón, a magician who brought personality to the Harry Potter series, is after pure, near-experimental spectacle.
  28. Amy Berg’s deeply sympathetic documentary on Janis Joplin — a singer whose shredded wail tapped reservoirs of pain — gets so much right, it feels like a major act of cultural excavation.
  29. None of this is pushed into comic relief—the filmmaker lets his drama play out with gentleness — and you smile at the many evolutions.

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