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. [Amy Berg's] instincts about how to pace a true story serve her well with this imaginary one, and so do the performances by Ms. Fanning and especially Ms. Macdonald.
  2. As much as the film is shadowed by a keen awareness of mortality, One Cut, One Life often pulses with an almost ecstatic vitality. In its vision of human existence, life is as messy and unpredictable as it is precious.
  3. The film genre that might be called Old People Behaving Hilariously gets an appealing new entry with The 100-Year-Old Man Who Climbed Out the Window and Disappeared, a sometimes daffy, often droll Swedish movie.
  4. The movie balances amiable humor and standard believe-in-yourself bromides with better than average action sequences.
  5. [A] wonderful, lighter-than-air movie.
  6. The most fascinating — and the most moving — thing about this sprawling, sincere and boisterous movie is its tone.
  7. In its stripped-down, cannily cinematic way, it's one of the most imaginative Australian films yet released in this country. It has no pretensions to do anything except entertain in the primitive, occasionally jolting fashion of the first nickelodeon movies, whose audiences flinched as streetcars lumbered silently toward the camera.
  8. This film has showier stunts than its predecessors, and a better sense of humor. It also has Tina Turner, in chain-mail stockings.
  9. The story pops and swerves; the images are by turns comical, banal and ravishing; and the result is a briskly shaken cocktail made of equal parts provocation and comfort. You come away with a buzz that is invigorating and pleasantly familiar.
  10. Stretched to 80 minutes, the story (by the director Leah Meyerhoff) almost breaks; that it holds together without compromising its simplicity or emotional authenticity only proves that, contrary to the maxim, you don’t need a gun if you’ve got the right girl.
  11. The voice casting and the visual representations of the characters the boy encounters on his journeys are superb.
  12. Indeed, few satisfying answers arise here. But there’s bravery in asking the questions, and this film knows something about courage.
  13. A dark, satisfying work that can be forgiven for the moments it succumbs to Hollywood convention.
  14. Besides a clever, blithely ribald script by Bradley Jackson, the movie benefits from a potent “Saturday Night Live”-empowered cast.
  15. At slightly more than an hour, the film may not be definitive, and its chronology is a little fuzzy. Even so, Rubble Kings is a fascinating, valuable work of social, music and New York history, a celebration of a peaceful revolution by those who helped birth it.
  16. Impressive acting (especially from Mr. Suliman and Yael Abecassis as Yonatan’s mother) enhances this thoughtful drama, directed with a sure hand by Mr. Riklis, a film veteran.
  17. Slow and steady, and with remarkable assuredness, Keith Miller’s Five Star plays mean-streets drama in the lowest of keys.
  18. Ms. Granik’s tact and curiosity are remarkable. So is her subject’s openness.
  19. Breathe conveys an uncanny insight into the psychology of late adolescence, when lingering childhood fantasies can combust with burgeoning adult sexuality in a swirl of uncontrollable feelings.
  20. Only a few scenes fail to draw laughs in a movie that’s unexpectedly smart and consistently amusing.
  21. A wistful meditation on the world, its beauties, mysteries and injustices.
  22. This warm, robust movie ultimately transcends the formulas with which it flirts to become a far more subtle and honest result than a machine-tooled tear-jerker like “The Theory of Everything.” When the film doesn’t try to build up the usual suspense found in movies about competition, you sigh with relief.
  23. More than most docudramas about fairly recent events, it is so well written and acted that it conveys a convincing illusion of veracity.
  24. Barcelona, like "Metropolitan," indulges in long, hair-splitting discussions without resorting to broad gags or worrying about wearing out its welcome.
  25. Shot with available light, the suburban rambles are portrayed so naturally that it’s hard to believe they are scripted.
  26. There’s much to enjoy in Baby Driver, including the satisfactions of genuine cinematic craft and technique, qualities that moviegoers can no longer take for granted.
  27. This violent franchise has rarely felt so assured, so relaxed and knowingly funny.
  28. [A] rich and fascinating biography.
  29. Directing his first feature after some shorts, John Magary digs into his characters with fresh eyes and a sly sense of adventure.
  30. The film is remarkable, considering its minimal means and surprising lack of bloodshed, given the genre. Does it stay with you? A little.

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