Time Out New York's Scores

  • Movies
For 2,618 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 October Country
Lowest review score: 0 Vampires Suck
Score distribution:
2,618 movie reviews
  1. Strangely enough, our knowledge of what’s to come makes Word Is Out that much more affecting, because it shows that there were—and are—pockets of peace amid the brutality of an ongoing civil-rights struggle.
  2. Voyage to Italy is the kind of movie that makes those unhappily in love feel understood. And even if that’s not you (congratulations), it’s still possible to groove on Rossellini’s stranger-in-a-strange-land psychodrama.
  3. Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.
  4. Shoah's ultimate legacy, however, is being the final word on the Final Solution-one that renders every well-intentioned dramatic re-creation of such horrors into repulsive Ausch-kitsch by comparison.
    • 97 Metascore
    • 100 Critic Score
    Even this early in his career, Godard knew how to make audiences viscerally experience and contemplate things they might otherwise not have wanted to.
  5. Though McQueen continues to work his themes of suffering and spiritual transcendence, this unflinching, unforgiving drama is not about a slave, but about slavery itself.
  6. The meanings of Close-Up shift, subtly and profoundly, with every viewing; the only certainty is that its rewards are boundless.
  7. It's a grandly entertaining reminder of everything we used to go to the movies for (and still can't get online): sparkling dialogue, thorny situations, soulful performances, and an unusually open-ended and relevant engagement with a major social issue of the day: how we (dis)connect.
  8. The details are gripping, presented with respect for an audience's intelligence.
  9. The drama it might remind you most of, oddly enough, is "Six Degrees of Separation," also about the snowballing connections between unlikely people. And as in that urban clash, the bedrock of it all is social responsibility, ever crumbling and rebuilding. A total triumph.
  10. That’s the subtle level this movie operates on, and by the time it arrives at its powerhouse climax, a ruinous argument in a hotel room where all lingering doubts are finally and furiously outed, there’s nowhere left for them to ramble. They’re pinned down and have to improvise, but this glorious movie has infinite space to roam.
  11. Though it runs an epic five-and-a-half hours (it was made for French TV), Carlos books like no film since "Goodfellas." You will not be bored, ever.
  12. But mainly, it’s the film’s folk music that roots in the heart like a faraway lure.
  13. To fall in love with it, viewers only have to be receptive to a movie that examines the ties that bind with grace, wit and depth.
  14. It is the richly evocative performances of Marion (aggressive yet enticing) and Merhar (wearing world-weariness like an aged suit) that cut deepest.
  15. Remains a primo example that cinema actually traffics in truthiness 24 frames per second.
  16. Rohmer has a genius for taking a seemingly mundane situation and slowly tightening the screws.
  17. A superior work of confrontational boldness, it might be the movie Oppenheimer wanted to make in the first place.
  18. Polley has gone further into the thorny subject of forgiveness than any of her peers. Her movies ache with ethical quandary; Stories We Tell aches the most.
  19. There's influential, and then there's this 1953 microbudgeted beauty, one that's made its way into the DNA of everything from cinema vérité to the French New Wave.
  20. Why do we care? Because never before have the steps to thugdom, as depressing as that destination may be, been so rigorously detailed, neither romanticized nor negated. Don’t miss.
  21. Again, Granik has foregrounded a bold woman, expertly balanced between fearlessness and Ree's own private nervousness.
  22. The popular view of art is that it belongs to the masses. Wiseman casts a more skeptical eye, questioning such egalitarianism with cold, hard historical context. Yet he simultaneously acknowledges that these works live on far beyond their original purpose, even if, as the film’s bold, brilliant climax suggests, they may eventually play to an audience of none.
  23. Thus comes My Perestroika's most sophisticated idea: Day-to-day family struggles have a way of trumping even the most profound political change. Don't miss this.
  24. Sure it is - and a great one at that.
  25. A dynamite crime comedy and identity meltdown that can rekindle one’s faith in movies.
  26. A paranoid police procedural, a perverse parable about the corrupting elements of power, and a candidate for the greatest predated Patriot Act movie ever, Elio Petri's stunning thriller makes no attempt to hide the culprit behind the film's grisly murder.
  27. We are in the presence of a new classic.
  28. The auteur’s style — dramatic zooms, winking symmetry — is balanced against a newfound political context; this one’s his "To Be or Not to Be."
    • 87 Metascore
    • 100 Critic Score
    The movie's true brilliance comes from its portrayal of how the world curls around you in the grip of heartache-every song on the radio, every face you see, every story you're told reflecting only what you've lost.

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