Time Out New York's Scores

  • Movies
For 2,940 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 Before Midnight
Lowest review score: 0 Vampires Suck
Score distribution:
2940 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.
  5. Moonlight takes the pain of growing up and turns it into hardened scars and private caresses. This film is, without a doubt, the reason we go to the movies: to understand, to come closer, to ache, hopefully with another.
  6. Call Me by Your Name has a choking emotional intensity that will be apparent to anyone who’s ever dared to reach out to another.
    • 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.
  7. 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.
  8. To say Lonergan has evolved further with his third feature would be an understatement: He toggles between his new plot’s years with the relaxed mastery of Boyhood’s Richard Linklater. Plus, he’s finally got a complex central performance that anchors his ambitions to cinema’s all-time great brooders.
  9. Masterfully addressing the American racial divide, past and present, director Raoul Peck’s six-years-in-the-making documentary, I Am Not Your Negro, is a galvanizing, ominous film, thrumming with a sense of history repeating itself.
  10. Cuarón, a magician who brought personality to the Harry Potter series, is after pure, near-experimental spectacle.
  11. The meanings of Close-Up shift, subtly and profoundly, with every viewing; the only certainty is that its rewards are boundless.
  12. 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.
  13. The details are gripping, presented with respect for an audience's intelligence.
  14. 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.
  15. 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.
  16. It's far from a definitive statement-why does ACT UP, a seminal presence in SF, get such short shrift? - but this oral history provides a righteous cri de coeur for those who perished in the precocktail era.
  17. 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.
  18. It's not an easy sit; we're never let off the hook with golden-hued memories or belated bits of wisdom. Maybe this is love after all.
  19. 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.
  20. But mainly, it’s the film’s folk music that roots in the heart like a faraway lure.
  21. 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.
  22. It is the richly evocative performances of Marion (aggressive yet enticing) and Merhar (wearing world-weariness like an aged suit) that cut deepest.
  23. Clearly, Pixar’s genius for adventurous storytelling continues unabated.
  24. Remains a primo example that cinema actually traffics in truthiness 24 frames per second.
  25. A superior work of confrontational boldness, it might be the movie Oppenheimer wanted to make in the first place.
  26. Rohmer has a genius for taking a seemingly mundane situation and slowly tightening the screws.
  27. Watching the first hour of I Was Born, But… (unspooling with a bright, new piano score by Donald Sosin) might remind you of a subdued “Our Gang” skit, and not unpleasantly.
  28. 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.
  29. This spry, sharp and relentlessly clever middle finger to censorship is Panahi’s boldest act of defiance to date.

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