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 Gone Girl
Lowest review score: 0 Vampires Suck
Score distribution:
2946 movie reviews
  1. Yun is quite simply spectacular as a woman who holds steadfastly on to her dignity and empathy, even in the face of unspeakable tragedy.
  2. Its historical import as a peripheral civil-rights document can't be understated.
    • 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. The movement of the story—from wrenching homesickness to blooming confidence and a smile on one’s stroll to work—elevates the movie into universal urban poetry.
  5. 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.
  6. The most gratifying thing about the film is feeling Moodysson’s warmth return to him.
  7. You could spend a lifetime peeling the glass onion of Shirley Clarke’s merciless documentary, in which a born performer drops incinerating truth bombs while putting the con in confessional moviemaking.
  8. Rarely do movies-never mind foreign ones, of any nationality - explore an honest-to-God ethical quandary. Elena, in its concentrated austerity, often resembles a lost chapter of Krzysztof Kieslowski's Ten Commandments–themed Decalogue.
  9. 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.
  10. What you see and hear always seems perfectly natural, even if you can't exactly say why. Who needs words when you have cinema?
  11. Delicately placed on a sonic bedrock of chirping birds and distant traffic, Cemetery of Splendour is a whisper of a film that can only cast its spell if you let your breathing slow and give yourself over to the urgency of its spectral dimension.
  12. Those Dardenne brothers…still making great movies with second-nature ease.
  13. 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.
  14. Particle Fever is that rare, exhilarating science doc that’s neither dumbed down nor drabbed up.
  15. Unusually moving (not only to stray film critics in your crowd), director Steve James's keen profile of the late, great Roger Ebert works both as a compact appreciation of the reviewer's vast public impact, as well as an unflinching peak into a cancer patient's final months, fraught with pain, hope and constant treatment.
  16. 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.
  17. Best of all, filmmaker Bennett Miller (Capote) uses this brainiac sports movie to remind viewers that money is neither the measure of a man nor the ultimate assessment of quality; it's a myopic metric based on past accomplishments rather than future potential. After all, success isn't always about the home runs so much as just getting on base - again, and again, and again.
  18. Creepy doesn't begin to describe these masterworks of control freakery, nor does beautiful - they look as if they're glowing from the inside out, even as Crewdson's scenes of furtive common people make viewers feel like voyeurs.
  19. The film has a traditional appeal that's wholly separate from its surface.
  20. The story is a little slight compared to the grand romantic ache of Pride and Prejudice, but Beckinsale and Stillman do their inspiration proud: Finally, a Jane Austen movie that's fresh and deliciously rotten at the same time.
    • 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.
  21. The film builds riotously via a series of verbal takedowns as male authority goes limp in the wake of a regrettable impulse. This is slender material to build a whole film around, but Östlund turns it into something deep, for viewers with patience.
  22. 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.
  23. 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.
  24. The Tillman Story balances cynical and inspirational aspects in equal measure. Pat's demise-and the media debacle around it-seems that much more tragic and enraging.
  25. If Abrahamson were as gifted with a camera as he was with his cast (he inspires subtlety even from the tiny Tremblay), Room could have been truly worthy of the astonishing performances that provide its foundation.
  26. If the overall effect of Nebraska’s father-son bonding and attention-must-be-paid pathos doesn’t quite have the zing of the filmmaker’s best work, he’s certainly got an ace in the hole.
  27. 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.
  28. Provocatively, the film suggests that winning small battles was victory enough; Saigon natives, also interviewed, were left behind to endure death camps.

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