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. The performances from the film’s young cast members are uniformly excellent, including Owen Campbell as Zach and Charlie Tahan as Josh. But the direction from Mr. Phillips is what makes Super Dark Times unusual.
  2. The movie’s wide-screen framing, ruthless plot reversals and say-what-you-mean writing sometimes recall a master of socially conscious cinema from another era, Sam Fuller. But this is a picture with its own strong voice.
  3. Ms. Kim is simultaneously an ordinary woman and a melodramatic heroine, her performance made more layered and intriguing by the intimation that she may be playing herself.
  4. This quiet movie, shot in black-and-white and color, is an unhurried, beautiful, and pained work that through simple means resonates on various levels.
  5. Junction 48 is more than a mere crowd-pleaser, and it refuses easy catharsis, ending with a cliffhanger. But since this is a movie about deciding to act, maybe that’s the perfect note.
  6. Ms. Dorfman emerges as an artist of deep compassion, empathy, humor and wisdom.
  7. The film’s silence works as a kind of invitation, encouraging you to infer meaning and jump to conclusions as one image gives way to the next.
  8. At first Apprentice seems to be a basic revenge film in which Aiman stalks the man who killed his father. But it becomes psychologically more complex.
  9. The entire cast is solid, but the women, especially Ms. Hagoel, bring depth to their comedic and dramatic turns.
  10. Even though Anders and the people around him can be sorted into recognizable types (a fault, mostly of Mr. Thompson’s book), they are also amusing and awful in ways that can feel disconcertingly real.
  11. A lot of the other period details aren't too firmly anchored in time, but the film is so good-natured, so obviously aware of everything it's up to, even its own picturesque frauds, that I opt to go along with it. One forgives its unrelenting efforts to charm, if only because The Sting itself is a kind of con game, devoid of the poetic aspirations that weighed down "Butch Cassidy and the Sundance Kid."
  12. Canners is a testament to its director’s indefatigable humanism, and to the human beings who feed it. The movie follows the money, a nickel at a time, and discovers something far more valuable.
  13. The movie’s tree-falling-in-the-forest-with-no-one-to-hear-it denouement is an apt but not entirely hopeless metaphor for the condition of its characters.
  14. [Mr. Léaud's] riveting, and a little alarming. As for Mr. Serra, while he often enjoys playing the foppish provocateur in his interviews, his film is sober, meticulous and entirely convincing in its depiction of period and mortality.
  15. There’s a lot to laugh at, and to learn from, in Tickling Giants, a documentary that starts off by telling the story of one man and ends up speaking volumes about satire, freedom of expression and political pressure.
  16. An exemplar of how to make the personal political.
  17. Dark corners of the immigrant experience in New York City, especially for women, are frighteningly dramatized in Ana Asensio’s suspense film Most Beautiful Island, a modest but effective writing-directing debut.
  18. This is a difficult movie because the questions it raises are not easy. There are sentimental and reassuring movies about vengeance, and comforting stories about the resistance to historical oppression. This isn’t one of those. You might say it’s too angry. Or too honest.
  19. Karl Marx City, Michael Tucker and Petra Epperlein’s unsettling new documentary, is a smart, highly personal addition to the growing syllabus of distressingly relevant cautionary political tales.
  20. The movie dives into the black arts with methodical restraint and escalating unease.
  21. This documentary, coupled with Ms. Aviv’s article, addresses unresolved issues of personal autonomy versus a patient’s inability to protect herself. It will haunt you.
  22. If you couldn’t name two Native American musicians at the beginning of the documentary, you’ll remember at least a half-dozen after the end. And it’s a good bet you’ll be searching for their albums, too.
  23. This is an essential film, but it is also a terribly dispiriting one.
  24. Glory is celebratory, but it celebrates in a manner that insists on acknowledging the sorrow. This is a good, moving, complicated film.
  25. Negoescu has adapted a short story by Ion Luca Caragiale from 1901, and the lottery ticket concept is not necessarily novel, but he gives the film fresh zest with droll observations and pitifully endearing characters — all while poking meta fun at the austere Romanian New Wave movement he works within, and works to dismantle.
    • 72 Metascore
    • 80 Critic Score
    It is modest, observant, graceful and nonchalantly witty.
  26. The barbarity described in Finding Oscar is stomach-turning, but moments of courage still shine through in this unsettling yet vital documentary.
  27. The accumulation of spot-on performances and long-familiar faces, small-town routines and dusty-worn locations, finally coalesces into a picture that’s greater than the sum of its oft-clichéd parts.
  28. If Urban Hymn starts with that familiar dynamic, it stays surprisingly fresh thanks to three fine performances and a willingness to be uncompromising.
  29. Like flipping through misplaced leaves in a photo book, the documentary maintains a free-flowing tone as it uncovers the work that went into creating some of the indelible scenes in Hollywood history.

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