The New York Times' Scores

For 20,313 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:
20313 movie reviews
  1. Lacorazza’s deftness with actors, feel for the setting and aesthetic decisions — shooting in the snapshot-like 1.66-to-1 aspect ratio, or leaving the characters’ Spanish without subtitles — help the drama ring true.
  2. The jarring switch to documentary gives Bushman its added charge.
  3. The jokes spill forth so fast that there’s no time for the shtick to get soggy.
  4. Science fiction has become such a mainstay of lumbering franchises that it’s hard not to root for left-field small-scale twists on the genre like the fizzy, funny Molli and Max in the Future.
  5. Murphy, fresh off his “Oppenheimer” Oscar win, is both producer and star of this film. His performance is unsurprisingly searing and nuanced, especially since Bill is not much of a talker.
  6. Most interestingly, we listen in on young Beninese as they discuss the wider repercussions in an open forum. . . It’s a rich conversation that rapidly lays out the controversies and bigger issues at stake.
  7. In the end, Dandelion feels like one artist’s emotional prequel, leaving us wishing for even more.
  8. Copa 71 is engrossing, but it struck me that like another documentary about a forgotten moment in history — the Oscar-winning “Summer of Soul” (2021) — this movie reveals the power of recording history for future generations.
  9. It’s still fascinating to imagine a time, not all that long ago, in which painting, sculpture, jazz, literature and more were considered keys to the exporting of American influence around the world.
  10. You might devour less after watching Food, Inc. 2, and what you eat will probably be healthier.
  11. Delon is fine and the movie has the cool delicacy and preci sion one ordinarily associates with something no more philosophical than a Swiss watch. Melville, however, is a philosopher and “The Godson” is as much parable as fascinating melodrama.
  12. It’s surprisingly moving, more a testament to the human drive toward community and connection in even the most unexpected of spaces.
  13. Kahn manages to assemble the story in a way that escapes feeling like a series of object lessons.
  14. Surprisingly, the film goes much further than expected. Streaming services are loaded with documentaries about scammy internet-era companies, but “MoviePass, MovieCrash” finds the barely told story in all the juicy facts.
  15. The film is especially good about contextualizing the band’s emergence in the midst of condescension (at best) from the mainstream media.
  16. Almost a quarter of a century in, the Bridget Jones movies are coalescing into an evocative portrayal of a character coming to terms with both her imperfections and her strengths in real time.
  17. It's a brutal and disagreeable story, probably a little far-fetched, and without Mr. Schulberg's warmest character—the wistful widow who bestowed her favors on busted pugs. But with all the arcana of the fight game that Mr. Yordan and Mr. Robson have put into it—along with their bruising, brutish fight scenes—it makes for a lively, stinging film.
  18. A triumph of sensitivity.
  19. The only news here — and, really, the greatest surprise — is how thoroughly this ribald, at times predictably unflattering movie humanizes its protagonist, a classic American striver.
  20. The Girl With the Needle is most intriguing when it lingers in its disturbing fictions, which come to life with exceptional style.
  21. The payoff feels somewhat slight, but the foreplay — the will-they-or-won’t-they and the will-he-find-out — builds up with energy and flare. Maybe climaxes are overrated, anyway.
  22. Made nearly half a century ago and long hiding in plain sight, Martha Coolidge’s “Not a Pretty Picture” is at once an autobiographical documentary, a Pirandellian psychodrama, an acting exercise, a personal exorcism and a powerful political tract.
  23. "Miller’s Point” is a Christmas movie more invested in atmosphere, and the qualities of wintry light, than in holiday cheer — and that somehow makes it all the more warm.
  24. Like many of the best golden-age melodramas, this HBO film fully commits to both unabashed emotion and a complicated female lead, a role filled by Jessica Lange with a finely tuned mix of showmanship and nuance.
  25. This violent franchise has rarely felt so assured, so relaxed and knowingly funny. If Bad Boys: Ride or Die means that Smith, post-slap, will remain a bad boy for life, there are worse punishments to endure.
  26. Throughout the film, Hurwitz showcases comedy as more than just a source of laughter, but of healing, catharsis and as an agent for queer liberation, particularly during the Stonewall riots in 1969 and, later, the AIDS epidemic.
  27. A winking ode to queer youth who still dream — too fiercely, too soon — amid self-discovery and family disruption, Griffin in Summer gives aching shape to a child’s need for order in a world that defies their understanding.
  28. I expect every viewer of How to Come Alive With Norman Mailer will have some quibble with it, but it’s an accomplishment nonetheless — a model for how to reimagine a standard documentary structure to accommodate a multifaceted subject without smoothing over the rough spots and slapping on a halo.
  29. Hummingbirds is pretty tight filmmaking at less than 80 minutes, and the laid-back presentation makes the political commentary register strongly from the periphery.
  30. One of the most candid, most fascinating portraits ever made of a motion picture director at work.

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