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. Take Out is the season’s freshest, most sympathetic movie about making your way in modern-day Manhattan with a little help from your friends.
    • 69 Metascore
    • 80 Critic Score
    However you look at it, "Here Comes Mr. Jordan" is rollicking entertainment.
  2. The movie convincingly posits that Fonda was, cinematically, the embodiment of America itself. Horwath has gathered a vast amount of archival material from film, television, radio and more to make his case.
  3. [Somai’s] exquisite visual compositions (of lonely bedrooms, concrete piers, and nocturnal courtyards) infuse even the film’s racy images with a somber sense of longing and introspection, finding beauty and humanity in the midst of the macabre.
  4. The movie quickly establishes itself as a revenge narrative, and each bad guy goes down in a way designed to suit the viewer’s justified bloodlust.
  5. One of the liveliest, gayest, wittiest and naughtiest comedies of a long hard season.
  6. If you're for warm and gentle whimsey, for a charmingly fanciful farce and for a little touch of pathos anent the fateful evanescence of man's dreams, then the movie version of "Harvey" is definitely for you.
  7. The film reminds us again and again that Monk was as important a jazz composer as he was a pianist.
  8. The result is a movie so sweet and soothing you’ll be forced to admit that sometimes the universe — or, in this case, Netflix — gives you exactly what you need.
  9. The film, directed by Victoria Mahoney, is a sure-footed romp that tightens the screws, most immediately by flexing a bigger cast and broadening the lore of the original comic book series.
  10. Imogen Poots’s fantastically expressive performance as the adult Lidia transforms this movie (the feature directing debut of Kristen Stewart) from punishing to mesmerizing.
  11. The intrigue is far-fetched and surprising — this is one movie you can’t write in your head — and delivered with increasing winks and charm.
  12. Washington’s most successfully sustained sparring partner is Jeffrey Wright, who plays Paul, the family’s chauffeur. He comes into focus through his beliefs, his attire and salient details (including a banner for the Five Percenters, an offshoot of the Nation of Islam), though primarily through Wright’s discreet, moving performance.
  13. The ensemble is packed with seasoned acting professionals across the board, who more than sell their drunk scenes and deliver more than a few laughs on their way to redemption.
  14. Jane Austen Wrecked My Life is both pleasantly diverting and sneakily wise.
  15. Deaf President Now! skillfully draws the lines for all viewers. It’s not just a story about a moment in history: It’s also about the ways the movement for deaf education led to the broader disability rights arguments, and how everyone’s rights depend on everyone else’s.
  16. What clinches the portrait is the sure-handed direction and Kana’s organic performance of a daunting character. Dramatically, Yamanaka finds unpredictable ways into and out of scenes, and she has an eye for the poignant details amid the angst.
  17. Here is a movie whose atavistic excursion through time transfixes, even as its psychology remains as fuzzy as a photograph smeared by motion.
  18. Urchin doesn’t break the mold, but it’s a confident, quietly affecting drama that strikes above the standard character study.
  19. Say this, in sum, for "Breathless": it is certainly no cliché, in any area or sense of the word. It is more a chunk of raw drama, graphically and artfully torn with appropriately ragged edges out of the tough underbelly of modern metropolitan life.
  20. Alfred Hitchcock, England's jovial and rotund master of melodrama, has turned out another crisply paced, excellently performed film in "The Girl Was Young."
  21. Topaz is not only most entertaining. It is, like so many Hitchcock films, a cautionary fable by one of the most moral cynics of our time.
  22. With its rough-hewed realism, “Will” is remarkable not so much for its craft as for its philosophical depth in portraying the tensions between a struggling individual and his community, which can be both supportive and enabling.
  23. The action sequences are fluid and immersive, the art is frequently striking and the music (catchy, if formulaic earworms) is a properly wielded and dynamic storytelling tool.
  24. If some of the cabin’s lore is on the silly side, Maslany sells Liz’s terror so convincingly that the urge to giggle is dampened. Her lock on the film’s tone is absolute.
  25. Il Dono manages to strike a balance between damnation and idolatry of its medieval setting. We’re sucked in, enraptured, even as we feel its lives fading away.
  26. It’s a useful framework for understanding leaders around the world, and Baranov is the ideal cipher, someone who intimately understands how easily people’s minds are swayed and molded.
    • 82 Metascore
    • 80 Critic Score
    Not a pretty picture to contemplate nor is it by any means a well-made picture. But "Shoe-Shine" mirrors the anguished soul of a starving, disorganized and demoralized nation with such uncompromising realism that the roughness of its composition is overshadowed by its driving, emotional force.
  27. A frankly fanciful farce, a rondo of refined ribaldries and an altogether delightful picture with Cary Grant and Irene Dunne chasing each other around most charmingly in it.
  28. Meddeb keeps her focus on several young Sudanese activists. It’s a wise choice, creating an intimate portrait of their dreams and fears.

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