The New York Times' Scores

For 20,280 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 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: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
20280 movie reviews
  1. The reason it deserves to be seen in a theater with special glasses on, rather than slapped on the DVD player when the children are acting up -- lies in those airborne sequences.
  2. The film punctures that airless sense of fate which can suffocate period pieces and restores this moment of upheaval to immediacy.
  3. Ms. Ferguson’s film does not seem to have a particular organizing principle at first. These survivors do not necessarily know one another. But their stories, intercut with archival footage over a brisk and frequently harrowing 81 minutes, build to a pitch of horror and sadness that eventually allows for a note or two of hope to sound.
  4. Its best moments come from witnessing the Senator's inspired unraveling, not from watching where it will end.
  5. Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor’s face that, like Dunst’s, expressed a nation’s soul-sickness so vividly that it felt like an X-ray.
  6. While the plot may be predictable (and more than a little preposterous) in retrospect, Mr. Soderbergh handles it brilliantly, serving notice once again that he is a crackerjack genre technician.
  7. The Battered Bastards of Baseball is an affectionate scrapbook of a documentary.
  8. The film's cleverness is aggressive and cool, and so its mysteries, though elaborate, remain largely uninviting.
  9. A huge, thrilling three-and-a-quarter-hour experience that unerringly lures viewers into the beauty and heartbreak of its lost world.
  10. The filmmakers work tirelessly to parallel their undersea world with the larger universe, offering genteel reminders of our mutual dependence.
  11. Hal Holbrook strips the stereotype of the grumpy old man of sentimental shtick and cutesy old-codger mannerisms.
  12. This movie, which was written by Mr. Diggs and Mr. Casal, has an energetic-to-the-point-of-boisterous style. Its lively frequency is embedded in the writing, bolstered by Carlos López Estrada’s direction, and kept buoyant by the performers. This particular aspect of the film makes it exciting to watch, but can also be confounding.
    • 75 Metascore
    • 80 Critic Score
    A fast, funny and sprightly rustic romp well worth seeing.
  13. Tedesco is the son of the West Coast guitar great Tommy Tedesco, and he clearly has a knack for getting musicians to open up. The band members.
  14. 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.
  15. If you have any affection at all for traditional American music, the movie itself -- is pretty close to heaven.
  16. A hallucinatory tour de force of color, perspective and scale, virtually encapsulates the history of Japanese animation.
  17. Mr. Bernal's soulful, magnetic performance notwithstanding, the real star of the film is South America itself, revealed in the cinematographer Eric Gautier's misty green images as a land of jarring and enigmatic beauty.
  18. Anchored by Rosamund Pike’s powerhouse lead performance, this restive, raw movie slowly accumulates the heft to render its flaws irrelevant.
  19. Documentary has a tradition of trafficking in the misery of other people’s lives, so it’s a relief that “The Wolfpack” doesn’t drag you down or offer packaged uplift, but instead tells a strange tale with heart and generosity.
  20. It’s appealing to adults and accessible to younger viewers. And it delivers an environmental message that is strong and serious while remaining encouraging and optimistic. That’s important to hear. The rest is just amazing to watch.
  21. Humor creeps in from strange sources, including a seller of funeral packages and a march through a Paris graveyard. And while not every motivation is clear, subtext isn’t everything in a movie as complex and satisfying as this one.
  22. While the movie has allegorical resonances with the political and human rights disasters of 20th-century Romania, by the end, its surfaces, while remaining superficially unimpressive, open up as the film moves from epistemological speculation onto a plane of mysticism. This relatively short film contains worlds.
  23. The result is a movie that is challenging, accessible and hard to stop thinking about...But in too many recent movies intelligence is woefully undervalued, and it is this quality -- even more than its considerable beauty -- that distinguishes Little Children from its peers.
  24. Mr. Cameron has made a swift, exciting special-effects epic that thoroughly justifies its vast expense and greatly improves upon the first film's potent but rudimentary visual style. He has also broadened his initial idea to encompass better developed characters (after all, the first Terminator was barely verbal), a livelier wit and a more ambitious, if nuttier, message.
  25. There is plenty of drama in a teenager’s everyday life — no need to sensationalize — and Morris From America feels true to both the pleasures and the frustrations of its title character.
  26. The Plagiarists does skewer its characters, but where it goes from there is more genuinely bleak than what mere finger-pointing can achieve.
  27. Mandela did not die before effecting a huge change in his still-traumatized country. This movie sheds a valuable light on his struggle.
  28. Moving and ultimately hopeful, Another Road Home makes no effort to soften or simplify its prickly themes.
  29. Mr. Day-Lewis, looking wearily rugged and battling his way through several plausible boxing matches, once again breathes fire into the character of a high-minded loner, and his vitality lends real force to the film's moral arguments.

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