Time Out New York's Scores

  • Movies
For 2,687 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 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Close-Up
Lowest review score: 0 Vampires Suck
Score distribution:
2,687 movie reviews
  1. The film plays like a better episode of "Mad Men," pitch-perfect in its details yet fully lived-in: a universe of rolled-up shirt sleeves, sweat-laden brows and screams that don’t sound canned.
  2. 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.
  3. Either via clay dolls or fragile flesh, the truth is unmissable—as is Panh’s film itself.
  4. By using Laura as an avatar, Marker actually helps us see the visuals and their knotty meanings much more clearly. The more we watch, the more Laura softens, until — in a mind-bending conceit — her very status as a fictional creation is called into question. The effect is ecstatic.
  5. The most gratifying thing about the film is feeling Moodysson’s warmth return to him.
  6. Redford, already a giant, has never been more suggestive. His character’s misadventure — might be a kind of cosmic penance. It’s the salvation of the moviegoing year.
  7. What you see and hear always seems perfectly natural, even if you can't exactly say why. Who needs words when you have cinema?
  8. Those Dardenne brothers…still making great movies with second-nature ease.
  9. The final Harry Potter movie, above all others, supplies Radcliffe with the gravitas of not just an epic story come to completion, but some real dramatic heft. Not so bad for a Hogwarts dropout.
  10. Particle Fever is that rare, exhilarating science doc that’s neither dumbed down nor drabbed up.
  11. An epic indictment of media manipulation, this avant-doc delivers its coup de grâce once the camera finally demands accountability - leaving the disgraced despot staring into the lens, and the abyss of history staring back into him.
    • 87 Metascore
    • 90 Critic Score
    There is always an interesting tension in Cameron's work between masculine and feminine qualities. When it finally hits the fan here, we're in for the mother of all battles.
  12. A classically structured rampage that bears serious comparison to the definitive greats of Akira Kurosawa, 13 Assassins will floor connoisseurs of action, mood and the dignity of a pissed-off scowl.
  13. The best style has a purpose to it, and Russian Ark, in its hypnotic, endless swirl, gets at a deep truth of the post-Soviet psyche, haunted by its legacy of czarist rule and Stalin-era sacrifice. The film is a sad home for ghosts.
  14. Defiantly intellectual, complex and true to the shifting winds of real-world governance, Lincoln is not the movie that this election season has earned-but one that a more perfect union can aspire to.
  15. On purely formal grounds (the ones on which the genre lives or dies), Kent is a natural. She favors crisp compositions and unfussy editing, transforming the banal house itself into a subtle, shadowy threat.
  16. You could hardly ask for a more beautiful vision of souls in transit.
  17. The true value of the film is universal: These kids study the knotty viral science, pressure doctors into taking daring, inventive steps and make their cause a global emblem.
  18. Shindô concocts a stylistic mix of odd experimental flourishes, female nudity, Soviet-style close-ups and baldly sentimental melodrama to emphasize the toll this disaster took; its cup may runneth over, yet the stark vibe is impossible to shake.
  19. Andersen makes humorous hay out of the stark home designs of Richard Neutra — only suitable, it seems, for drug dealers.
  20. Mistress America steamrolls through its mesmerizingly dense running time with such joyous violence that its themes only bubble up to the surface in retrospect, the heart of the movie identified like the dental records of a body that’s been burned beyond all recognition.
  21. The attention to visuals is above and beyond what most vérité is capable of; doing double duty as the film's cinematographer, Fan demonstrates a pitch-perfect photojournalistic eye.
  22. That rarest of art documentaries, one that actually leaves viewers with a better sense of the gifted versus the phony.
  23. The Cold War is over, but director Tomas Alfredson (Let the Right One In) and his collaborators have brought those suspicion-fueled days to vivid life in this masterful adaptation of John le Carré's beloved 1974 spy novel.
  24. Nichols has said that the idea for the film emerged from a free-floating anxiety that he sensed in the world at large, the feeling that everything we treasure in life could be lost in an instant. That sensation permeates this strikingly original movie - especially its enigmatic mind-fuck of a finale, which will haunt you for several lifetimes.
  25. Sokurov, who also acted as director of photography, films the character and his surroundings with the eye of a newly arrived visitor to another world.
  26. The Tree of Life enthralls right from the start.
  27. Sprung from a 1982 French graphic novel and bearing its era’s trickle-down tensions, Snowpiercer is a headlong rush into conceptual lunacy — but you’ll love it anyway.
  28. Indeed, you leave the film feeling like Wiseman has given you a glimpse of one of those ephemeral ports in a storm to which all of us retreat at times.

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