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
A.O. Scott
[Mr. Miller's] film shows the influence of other recent work in the American neo-neo-realist vein, notably Ramin Bahrani’s “Goodbye, Solo” and Lance Hammer’s “Ballast,” and like them relies on understatement and indirection to arrive at a powerful and resonant meaning.- The New York Times
- Posted Feb 28, 2013
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Reviewed by
A.O. Scott
This movie...is a lovely example of the strong realist tendency in Japanese animation. Its visual magic lies in painterly compositions of foliage, clouds, architecture and water, and its emotional impact comes from the way everyday life is washed in the colors of memory.- The New York Times
- Posted Mar 14, 2013
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Reviewed by
Nicolas Rapold
Mr. Sallitt lays down a customarily restrained mode of acting (the kind that somehow seems less flat and more natural in French cinema), but it’s in the service of a rare lucidity about feeling.- The New York Times
- Posted Feb 28, 2013
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Reviewed by
Nicolas Rapold
Mr. Ponsoldt ably charts a journey through the high stakes of adolescence, with both Sutter and Mr. Teller showing great promise.- The New York Times
- Posted Aug 1, 2013
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Reviewed by
A.O. Scott
This movie may tire you out with its hammering, swaggering excess, but it is never less than wide-awake.- The New York Times
- Posted Dec 24, 2013
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Caryn James
Flatliners is a stylish, eerie psychological horror film laced with wit, a movie that thrives on its characters' guilty secrets and succeeds on the strength of the director Joel Schumacher's flair for just this sort of smart, unpretentious entertainment.- The New York Times
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Reviewed by
A.O. Scott
Mr. Coogler, with a ground-level, hand-held shooting style that sometimes evokes the spiritually alert naturalism of Jean-Pierre and Luc Dardenne, has enough faith in his actors and in the intrinsic interest of the characters’ lives to keep overt sentimentality and messagemongering to a minimum.- The New York Times
- Posted Jul 11, 2013
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Reviewed by
Neil Genzlinger
This is not an easy documentary to watch, in the sense that the filmmakers let the story tell itself, without narration or expert commentary. That ultimately makes it all the more touching.- The New York Times
- Posted Mar 7, 2013
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Reviewed by
Jeannette Catsoulis
Patiently photographed by Carlos Vásquez, who bestows the same gentle attention on grainy snapshots and the beautifully ruined face of an aging drag queen, 108 peels back layers of delusion and dishonesty.- The New York Times
- Posted Mar 17, 2013
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Reviewed by
A.O. Scott
Fittingly enough, given that his great subject has always been himself, it is Mr. Roth who dominates the screen...He is, for 90 minutes, marvelous company — expansive, funny, generous and candid.- The New York Times
- Posted Mar 12, 2013
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Reviewed by
A.O. Scott
The Beltway sniper case was solved a long time ago. But in some respects, Mr. Moors’s haunting film suggests, it is still a mystery.- The New York Times
- Posted Sep 12, 2013
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Reviewed by
A.O. Scott
In A Hijacking, his assured, intense second feature, the Danish director Tobias Lindholm turns tedium and frustration into agonizing suspense.- The New York Times
- Posted Jun 20, 2013
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Reviewed by
A.O. Scott
The mischievous paradox of Matías Piñeiro’s Viola is that it is at once devilishly complicated and perfectly simple.- The New York Times
- Posted Jul 12, 2013
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Reviewed by
Janet Maslin
Beverly Hills Cop finds Eddie Murphy doing what he does best: playing the shrewdest, hippest, fastest-talking underdog in a rich man's world.- The New York Times
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Reviewed by
Daniel M. Gold
Murph: The Protector reminds us of the valor expended on distant front lines and the holes left at home.- The New York Times
- Posted Mar 22, 2013
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- Critic Score
This generous, fascinating documentary about the careers of backup singers, most of them African-American women, seeks to rewrite the history of pop music by focusing attention on voices at once marginal and vital.- The New York Times
- Posted Jun 13, 2013
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- The New York Times
- Posted Jul 18, 2013
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Reviewed by
Nicolas Rapold
Shola Lynch’s documentary about Angela Davis, the activist and beacon of counterculture radicalism, is a snappily edited, archivally wallpapered recollection of fearless behavior in the face of an antsy establishment. But it’s equally significant as a pointed act of retelling.- The New York Times
- Posted Apr 4, 2013
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Reviewed by
A.O. Scott
Less an archival clip job than a late-night jam session, it is informal and inviting.- The New York Times
- Posted Apr 18, 2013
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Reviewed by
Manohla Dargis
Unsurprisingly, Mr. Jay proves a hugely entertaining guide, and as generous about his professional inspirations as he is reticent about his own life.- The New York Times
- Posted Apr 16, 2013
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Reviewed by
Janet Maslin
There are no signs of waning energy here, not even in an Enterprise crew that looks ever more ready for intergalactic rocking chairs. The principals' enthusiasm for their material has never seemed to fade. If anything, that enthusiasm grows more appealingly nutty with time.- The New York Times
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Reviewed by
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Reviewed by
Manohla Dargis
Mr. Doueiri creates characters, emotional colors and political contradictions that have the agonized sting and breathe of life.- The New York Times
- Posted Jun 20, 2013
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Reviewed by
David DeWitt
Wings of Life is almost so lovely that you suspect it’s as computer-generated as “Life of Pi.” But it’s reality captured, through time-lapse and high-speed techniques: if not the most exciting moviegoing, it’s praiseworthy.- The New York Times
- Posted Apr 4, 2013
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Reviewed by
Manohla Dargis
[A] deceptively sincere movie about masculinity and its discontents that Mr. Gordon-Levitt, making a fine feature directing debut, shapes into a story about a young man's moral education.- The New York Times
- Posted Sep 26, 2013
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Reviewed by
A.O. Scott
Mr. Green is too fond of these guys, and too respectful of the little bit of freedom they possess, to ensnare them in the machinery of a plot.- The New York Times
- Posted Aug 8, 2013
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Reviewed by
Stephen Holden
Although this documentary has a powerful political subtext, it is best described as a conceptual art piece about confinement, attached to a dual biography of the artist and the prisoner.- The New York Times
- Posted Apr 18, 2013
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Reviewed by
Jeannette Catsoulis
The film’s small group of primary characters slips from joy to fury to murderous suspicion with faultless fluidity.- The New York Times
- Posted May 2, 2013
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Reviewed by
Jeannette Catsoulis
A warm thank you to those whose work is mostly invisible and entirely necessary.- The New York Times
- Posted Apr 25, 2013
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Reviewed by
Manohla Dargis
More is more and is, at times, just right in 22 Jump Street, an exploding piñata of gags, pratfalls, winking asides, throwaway one-liners and self-reflexive waggery.- The New York Times
- Posted Jun 12, 2014
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Reviewed by
Manohla Dargis
It’s a heavy, solemn tale of blood ties that turns into a melodramatic gusher filled with abstractions about masculinity, America and violence, but brought to specific, exciting life by Christian Bale, Casey Affleck and Woody Harrelson.- The New York Times
- Posted Dec 3, 2013
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Reviewed by