For 20,311 reviews, this publication has graded:
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46% higher than the average critic
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5% same as the average critic
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49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics.
(0-100 point scale)
Average Movie review score: 61
| Highest review score: | Short Cuts | |
|---|---|---|
| Lowest review score: | Gummo |
Score distribution:
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Positive: 9,399 out of 20311
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Mixed: 8,446 out of 20311
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Negative: 2,466 out of 20311
20311
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Stephen Holden
The Sessions is a pleasant shock: a touching, profoundly sex-positive film that equates sex with intimacy, tenderness and emotional connection instead of performance, competition and conquest.- The New York Times
- Posted Oct 18, 2012
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Reviewed by
A.O. Scott
This means that the violations chronicled in The Invisible War are compounded by a deep and terrible betrayal, which ripples outward from the various branches of the service into the society as a whole. This is not a movie that can be ignored.- The New York Times
- Posted Jun 21, 2012
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Reviewed by
Andy Webster
Mr. Williams's quiet integrity trumps Mr. Kessler at every turn. Self-aware and articulate, with a modesty born from confidence, he persistently uses the film to extol - and demonstrate - the rewards of recovery. His conviction brings necessary moral weight to Paul Williams: Still Alive, which transcends caricature to emerge an impressive personal testament.- The New York Times
- Posted Jun 7, 2012
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Reviewed by
Stephen Holden
Natalia Almada's eloquent documentary portrait of a sprawling graveyard in Culiacán, Mexico, in the northwestern state of Sinaloa. The rapidly expanding cemetery has become the burial ground of choice for the country's slain drug lords.- The New York Times
- Posted Jun 13, 2012
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Reviewed by
Manohla Dargis
A cold, funny number about the erotics of money and the seduction of death.- The New York Times
- Posted Aug 16, 2012
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Reviewed by
Jeannette Catsoulis
Illustrating the film's rags-to-ring narrative with panoramic mountain views and compact shots of young bodies punching their way up the food chain, Mr. Sun straddles ancient and modern, tranquillity and turmoil, with equal sureness.- The New York Times
- Posted Jul 5, 2012
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Reviewed by
Manohla Dargis
In A Burning Hot Summer (a pulpy title that sounds better in the original, "Un Été Brûlant), two men fall into friendship, and while little happens, everything is at stake.- The New York Times
- Posted Jun 28, 2012
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Reviewed by
Jeannette Catsoulis
One of the most entertaining documentaries to appear since "Exit Through the Gift Shop," a film similarly obsessed with role playing and deception.- The New York Times
- Posted Jul 12, 2012
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Reviewed by
Manohla Dargis
A hugely appealing documentary about fans, faith and an enigmatic Age of Aquarius musician who burned bright and hopeful before disappearing.- The New York Times
- Posted Jul 26, 2012
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Reviewed by
Bosley Crowther
Roger Edens, the talented producer, and Stanley Donen, the director, have turned the whole thing into a lovely phantasm made up of romance, tourism and chic.- The New York Times
- Posted Jun 7, 2022
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Reviewed by
Jeannette Catsoulis
And by exploring the lighter side of communal action - the camaraderie and cruising that turned weekly meetings into what one member calls "a combination of serious politics and joyful living" - he uncouples the gravity of the cause from the perceived humorlessness of advocacy. Foot soldiers for the dying, the members of Act Up never forgot how to live.- The New York Times
- Posted Jul 5, 2012
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Reviewed by
Stephen Holden
This 2 ½-hour film, which is described by Mr. Tiravanija as "not a documentary and not a narrative" but "more of a portraiture," rewards concentration once you adjust to its glacial pace and its radically minimalist aesthetic. It has no screenplay or story line.- The New York Times
- Posted Jul 16, 2012
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Reviewed by
Neil Genzlinger
Leaves a lot of questions unanswered, which is frustrating, but it gets high marks for honesty.- The New York Times
- Posted Jul 12, 2012
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Reviewed by
Neil Genzlinger
A riveting piece of work full of unpleasant characters whom you're glad you've met but never want to see again.- The New York Times
- Posted Jul 12, 2012
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Reviewed by
A.O. Scott
More moving than shocking, it proceeds slowly and gracefully, and the few scenes of bloodshed are emotionally intense rather than showily sensational.- The New York Times
- Posted Jul 19, 2012
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Reviewed by
Stephen Holden
Awesome also describes this 16-hour, four-opera masterwork about the creation and destruction of the world, a work that Wagner considered unstageable in his time.- The New York Times
- Posted Jul 19, 2012
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Reviewed by
Manohla Dargis
Here, a pulse, wit, beauty and a real sensibility have been slipped into the fray, alongside the clockwork guffaws, kabooms and splats.- The New York Times
- Posted Jul 31, 2014
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Reviewed by
A.O. Scott
The buzz of The World’s End is more like an antic sugar high than a reeling, drunken stupor. There are no headaches, dry mouth or crushing shame at the end — no “Hangover,” in other words. I’ll drink to that.- The New York Times
- Posted Aug 22, 2013
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A.O. Scott
The result is captivating, but not exactly moving: Nasser-Ali's grand passion is posited rather than communicated, in spite of Mr. Amalric's exquisitely soulful performance.- The New York Times
- Posted Aug 16, 2012
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Reviewed by
Stephen Holden
Above all, this beautifully photographed documentary is a poetic meditation on refined sensory perception.- The New York Times
- Posted Jul 25, 2012
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Reviewed by
A.O. Scott
Max et les Ferrailleurs, adapted from a novel by Claude Néron, has the matter-of-fact look and careful pace of a precinct-house procedural.- The New York Times
- Posted Aug 9, 2012
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Reviewed by
Manohla Dargis
Instead of delivering buckets of guts and gore, this ghost story offers a strong sense of time and place, along with the kind of niceties that don't often figure into horror flicks, notably pictorial beauty, an atmosphere throbbing with dread and actors so good that you don't want anyone to take an ax to them.- The New York Times
- Posted Jan 17, 2013
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Reviewed by
A.O. Scott
A spool of arresting, beautifully composed shots without narration or dialogue, Samsara is an invitation to watch closely and to suspend interpretation (another notion Sontag might have approved).- The New York Times
- Posted Aug 23, 2012
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Reviewed by
Manohla Dargis
Trading the cooler, more emotionally detached style and vibe that characterized "Home," her debut feature, about a family falling apart, Ms. Meier quietly goes for the emotional jugular in Sister.- The New York Times
- Posted Oct 4, 2012
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Reviewed by
A.O. Scott
Head Games gains credibility and power from compassion for athletes and respect for their accomplishments. But it also tries to open the eyes of sports lovers to dangers that have too often been minimized and too seldom fully understood.- The New York Times
- Posted Sep 20, 2012
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Reviewed by
A.O. Scott
Jacobs, the great 20th-century philosopher-evangelist of urban life, would surely recognize this retired restaurant cook, a resident of the Lower Ninth Ward in New Orleans and the subject of Jonathan Demme's marvelous new documentary, as an indispensable "public character."- The New York Times
- Posted Sep 12, 2012
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- The New York Times
- Posted Sep 12, 2012
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Reviewed by
Rachel Saltz
This is an excellent story, and Ms. Draper tells it clearly and stylishly, teasing out the interesting angles and repercussions.- The New York Times
- Posted Sep 12, 2012
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Reviewed by
Neil Genzlinger
Lots of comedic fight scenes break up the story’s more somber stretches, and the animation, especially in 3-D, is simply gorgeous.- The New York Times
- Posted Jan 28, 2016
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Reviewed by
Jeannette Catsoulis
Adam Wingard’s You’re Next strays just enough from formula to tweak our jaded appetites. That it does so without spraying the gore to geyserlike excess says a great deal about Mr. Wingard’s sensibility.- The New York Times
- Posted Aug 22, 2013
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Reviewed by