The New York Times' Scores

For 20,311 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:
20311 movie reviews
  1. Mr. Silva’s accomplishment is not just in pulling off a jarring plot twist, but in handling a change of tone that turns the movie — and the audience’s assumptions about it — upside down.
  2. The experiment’s methodologies and meanings have been analyzed endlessly over the years, and the film doesn’t delve deeply into these interpretations and critiques. It doesn’t need to; this stark and riveting version of events speaks for itself.
  3. The film has an appealing honesty and an enjoyably low-key comic style.
  4. Mr. Morgen was given access to Cobain’s archives — “art, music, journals, Super 8 films and audio montages” — and his exhilarating, exhausting, two-hour-plus film, both an artful mosaic and a hammering barrage, reflects years of rummaging through that trove.
  5. Whether or not you accept the tenets of Christianity, Last Days in the Desert, Rodrigo García’s austere depiction of the temptations of Christ, offers a quietly compelling portrait of the human side of Jesus.
  6. The glorious cinematography, by Robbie Ryan, sharply illustrates the disparity between the rugged majesty of the landscape and the savagery of its outlaws and adventurers, who resemble vermin scuttling through the underbrush of a perilous no man’s land.
  7. If you are one of those people who romanticize the East Village in New York when it was at its grungiest, Ten Thousand Saints might be the movie of your dreams. Even if you’re not, it’s still a very fine film, full of quietly impressive performances and young characters who register as authentic.
  8. 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.
  9. Blindingly beautiful and meticulously assembled by the award-winning editor Bob Eisenhardt, Meru easily makes you forget that what you are watching is completely bananas.
  10. Much of this film is told through interviews: Mr. Kani is fascinating and also funny; Mr. Combs is cocksure; and Kanye West is appealingly hyper. (“Being fresh is more important than having money!”) The film is rounded out with great archival footage and, especially in the first half of the film, excellent cartoons by Hectah Arias.
  11. While Faults glances at the narcissism of cult leaders, its most penetrating investigation is into the root emptiness within disciples, the desperate hunger to relinquish personal initiative.
  12. Poltergeist often sounds as if it had been dictated by an exuberant twelve-year-old, someone who's sitting by a summer campfire and determined to spin a tale that will keep everyone else on the edges of their knapsacks far into the night.
  13. The director’s wide frame encompasses vast terrain from a middle vantage point, achieving views and noticing changes over time that a mere passer-by might not.
  14. By turns touching, amusing and genuinely disturbing, it defies expectations and easy categorization, forgoing obvious laughs and cheap emotional payoffs in favor of something much odder and more interesting.
  15. Hogtown plays like a find from a forgotten archive.
  16. Balancing its abstract storytelling with commanding visuals (by the gifted cinematographer Ali Olcay Gözkaya), Futuro Beach explores liberation and reinvention, the tug of familiarity versus the allure of the foreign.
  17. Explores interlocking themes of sexuality, immigration and power dynamics with a cleareyed sensitivity and refuses to demonize even its shadiest characters.
  18. Eva
    The story has several well-disguised twists, and although it’s a drama, it is sprinkled with touches of whimsy, thanks to a colorful collection of robots.
  19. This candy-coated confection is so irresistible that you’re captivated by its sentiment even as you acknowledge its manipulations.
  20. Mr. Tsai typically uses narrative as a tool for exploring the moods and meanings that link his characters with one another and with the city that awakens, contains and frustrates their desires. They seem very much stuck in their world, but because that world is the creation of a wildly original artist coming into his own, it also feels alive with possibility.
  21. Directors Justin Weinstein and Tyler Measom have produced a jaunty, jovial portrait with a surprising sting in its tail.
  22. Mr. Ross consulted some of the leading experts in the era...and has done a good job of balancing the factual record with the demands of dramatic storytelling. The result is a riveting visual history lesson, whose occasional didacticism is integral to its power.
  23. Onni Tommila, Mr. Helander’s nephew, has an expressive face and marvelous understatement. And Mr. Jackson has never seemed so unblustery; his scenes with the younger actor have ease and humor.
  24. [A] quiet, devastating critique of the antiquated Indian legal system.
  25. Its classicism feels unforced and fresh. Its romance neither winks nor panders. It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn’t recognize the flavor: I think the name for it is joy.
  26. A frustratingly fragmented yet warmly intimate portrait of an evolving bond that frays but doesn’t sever.
  27. Suffragette is an admirably modest movie. It does not quite have the grandeur and force of “Selma,” and the script has a few too many glowingly emotive speeches. The final turns of the tale are suspenseful, but also a bit frantic. But it is also stirring and cleareyed — the best kind of history lesson.
  28. A loving, freewheeling new documentary by James D. Cooper, tells this origin story with panache and nostalgia.
  29. Tiny advances in seduction — like a direct gaze, or the eventual removal of that wig — assume the power of full-on sexual collisions, and Ms. Yaron, with her restlessly darting eyes, easily conveys Meira’s sensual deprivation.
  30. As this movie, directed by Isabel Coixet, tracks the deepening friendship between people from different cultures and backgrounds, it acquires an unforced metaphorical resonance.

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