Time Out New York's Scores

  • Movies
For 2,468 reviews, this publication has graded:
  • 31% higher than the average critic
  • 2% same as the average critic
  • 67% lower than the average critic
On average, this publication grades 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 In the Family
Lowest review score: 0 Vampires Suck
Score distribution:
2,468 movie reviews
    • 64 Metascore
    • 80 Critic Score
    Far more deserving of the hoopla Mike Figgis received for his single-take, multicamera drama "Timecode" (2000), Finnish visual artist Eija-Liisa Ahtila’s experimental narrative truly pushes forward the possibilities of split-screen cinema.
  1. The movie’s b&w images of craggy landscapes and shirtless young men have never looked more vibrant.
  2. Refn has somehow found his way to an authentic English hard-man drama, anchored in a dynamite performance, even as it celebrates thug life.
  3. Hardly the heady stuff of "Frost/Nixon"--or then again, maybe exactly the same thing. This one’s more rude and fun.
  4. 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.
  5. Michael Jackson was obviously shooting for the moon right before his death, as you can tell from these stunning bits of concert spectacle.
  6. West is far more adept at and interested in sustaining an unrelentingly ominous mood than in executing the genre-required spook shocks.
  7. 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.
  8. The movie does an uncommonly sensitive job probing the psychologies of blocked men, less so the urges of a widow who needs more than comforting words.
  9. The real drama in Parnassus comes from the troupe of sideshow performers, led by a terrifically morbid Christopher Plummer.
    • 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.
  10. It would be risible if Ozon’s hand didn’t remain so steady and confident throughout, all the way up to a complicatedly upbeat conclusion that recreates the Christian Annunciation with the straightest of faces.
  11. The White Ribbon comes dangerously--wonderfully?--close to playing like an evil-kid flick.
  12. This colorful, cranium-bursting film isn’t about one specific tale so much as the endless ways you can present narratives; it’s nothing less than a kitchen-sink deconstruction on the art of storytelling.
  13. Given the dreck we’ve seen this summer, it’s nice to be reminded of the virtues of clean storytelling and cultural curiosity.
  14. Ajami is Israel’s submission to the Oscars, and like the gritty "City of God" before it, it takes harrowing, tricky circumstances and illuminates them with Scorsesian snap.
    • 74 Metascore
    • 80 Critic Score
    The real treasure, however, is Bronstein, whose charismatically loopy, caffeinated performance carries an air of suspense: Can he keep his kids out of harm’s way? Will his clownish antics suddenly turn toxic? Is it simply a matter of when?
    • 76 Metascore
    • 80 Critic Score
    Still Bill gives the onetime R&B superstar ample space to air his tough yet warmhearted worldview, and to demonstrate its daily application.
    • 47 Metascore
    • 80 Critic Score
    Roberta Torre’s debut takes true incidents from the Mafia wars that plagued Palermo in the late ’80s and kicks them into a deliriously gaudy farce.
  15. His own worst enemy, Finkelstein has both trouble and tragic writ large on his brow.
  16. Polanski has made a genre piece with a verve and vitality that’s in sadly short supply.
  17. Despite the unsubtlety of the movie’s stance, a dizzyingly complex portrait emerges: that of pissed-off museum neighbors, arrogant critics and even the NAACP’s dignified Julian Bond, articulating a racial component.
  18. When you have an actor as suggestive as Kazan, swallowing up the lens with allure and complexity, your writer-director becomes superfluous.
  19. Geraghty’s performance is harrowing: Clinging to the phone and tortured by his ecstasy, he weaves empathy out of a flawed loner’s dysfunctional fetish.
  20. The movie isn’t quite suitable for the extremely young, but its apocalyptic tint may be catnip for smart preteens. They’ll breathe in the chilly air of a mysterious forest--the way forests should be.
  21. Still a mystery: Harlan’s own sense of guilt. But there’s plenty to go around.
  22. Though it’s divided into three chapters--“Voices,” “Recollections” and “Innocence”--the film takes a largely free-form look at a dying community that’s more reminiscent of Frederick Wiseman’s nonfiction case studies than the usual sociopolitical hand-wringing.
    • 75 Metascore
    • 80 Critic Score
    Thankfully, the actor-director prepares this potential recipe for hokeyness with all-natural ingredients, casting four of the feistiest biddies he could find, who are all the more endearing for being unadorned.
  23. Every so often, you get the gift of watching an under-the-radar actor bloom into a critical-mass phenomenon before your bloodshot eyes: Franka Potente in "Run Lola Run," or Christoph Waltz in "Inglourious Basterds." Add Noomi Rapace to the list; what she does with the title character of this Swedish thriller-cum-pop-lit-adaptation will spawn cults of swooning Rapacephiles stat.
  24. When Stiller indulges in moments of unfulfilled rage, this has real desperation.

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