For 20,313 reviews, this publication has graded:
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46% higher than the average critic
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5% same as the average critic
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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: | Short Cuts | |
|---|---|---|
| Lowest review score: | Gummo |
Score distribution:
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Positive: 9,401 out of 20313
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Mixed: 8,446 out of 20313
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Negative: 2,466 out of 20313
20313
movie
reviews
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- By Critic Score
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- The New York Times
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Reviewed by
Stephen Holden
What Darfur Now offers is a collective vision of actions, small and large, taken on many fronts, to end the crisis. The movie is a quiet, methodical call to action.- The New York Times
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Reviewed by
Stephen Holden
War/Dance, in spite of its slickness, is an honorable, sometimes inspiring exploration of the primal healing power of music and dance in an African tribal culture.- The New York Times
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Despite its laid-back script, “Smiley Face” is as prankishly political as Mr. Araki’s “Doom Generation,” evincing a deep unease with the media-saturated capitalist nation that Jane crawls inside her bong to escape.- The New York Times
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Reviewed by
Jeannette Catsoulis
Presenting neither an argument for medication nor its rejection, Billy the Kid is a deceptively simple portrait of a shockingly self-aware and articulate young man.- The New York Times
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Reviewed by
A.O. Scott
There is something graceful and effortless about this performance (Mr. Smith's), which not only shows what it might feel like to be the last man on earth, but also demonstrates what it is to be a movie star.- The New York Times
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Reviewed by
Manohla Dargis
In this film Mr. Coppola blurs dreams and everyday life and suggests that through visual and narrative experimentation he has begun the search for new ways of making meaning, new holy places for him and for us. He may not have found them yet, but, then, he’s just waking up.- The New York Times
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Reviewed by
Manohla Dargis
Woody Allen’s latest excursion to the dark side of human nature, is good enough that you may wonder why he doesn’t just stop making comedies once and for all.- The New York Times
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Reviewed by
A.O. Scott
The Orphanage, a diverting, overwrought ghost story from Spain, relies on basic and durable horror movie techniques.- The New York Times
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Reviewed by
Stephen Holden
An undeniably impressive visual spectacle that follows the sport of extreme skiing.- The New York Times
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Reviewed by
Manohla Dargis
The film is more funny ha-ha than LOL; it’s a smarty-pants satire that mocks and embraces almost every cliché in the biography playbook.- The New York Times
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Stephen Holden
A passionate ground-level examination of home childbirth.- The New York Times
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There’s nary a twist you don’t see coming. But the film’s strong acting, spectacular dance routines and culturally specific details turn clichés into catharsis. It’s the sort of film that sends you home with a spring in your step.- The New York Times
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Reviewed by
A.O. Scott
You are likely to remember this charming film, directed by Nadine Labaki, less for its gently comic, mildly melodramatic plot than for its friendly and inviting atmosphere.- The New York Times
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Andy Webster
What you do see are diverting 3-D effects and lots of playing to the camera by Ms. Cyrus, who performs as both herself and as her television alter ego, Hannah Montana. To her credit her attire isn’t tawdry, and it appears that she can sing.- The New York Times
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Reviewed by
Jeannette Catsoulis
Patiently and delicately, Ms. Trachtman teases out the tricky dynamics of a family dealing with a disabled child.- The New York Times
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Reviewed by
Manohla Dargis
Mr. Kolirin, it emerges, is wrenching comedy out of intense melancholia.- The New York Times
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Reviewed by
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- The New York Times
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Reviewed by
A.O. Scott
In its sweet, lackadaisical way, Michel Gondry’s Be Kind Rewind illuminates the pleasures and paradoxes of movie love.- The New York Times
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Reviewed by
A.O. Scott
The Counterfeiters is a swift and suspenseful thriller, and perhaps a little too entertaining for its own good.- The New York Times
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A.O. Scott
The performances are charming and convincing, and Mr. Joelsas does a good job of conveying Mauro’s loneliness and confusion as well as his playfulness. The Year My Parents Went on Vacation may not be terribly fresh or original, but its warm, sweet, nostalgic tone is hard to dislike.- The New York Times
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Semi-Pro finds the sweet spot between sports melodrama and parody, and hammers it for 90 diverting minutes.- The New York Times
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Reviewed by
Stephen Holden
This is the sort of gallows humor that Hitchcock relished drawing out in cruelly amusing cat-and-mouse games, not to be taken too seriously. The same is true of Married Life. The murder plot is not to be taken any more literally than the lethal games of “Mr. and Mrs. Smith.”- The New York Times
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Stephen Holden
How light is this movie? So buoyant that even an air raid warning, signaling that this whole world is about to crumble under the blitz, can’t dampen its giddy spirits.- The New York Times
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Manohla Dargis
Blind Mountain is a reminder that art sometimes keeps the truth alive far better than the news.- The New York Times
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Reviewed by
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- The New York Times
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Reviewed by
A.O. Scott
A lively minor addendum to the grand tradition of Italian fraternal cinema.- The New York Times
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Reviewed by
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- The New York Times
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Reviewed by
Stephen Holden
Dark Matter, with its view of cutthroat politics and competing egos inside a university, is also laudable in its refusal to soft-pedal the viciously petty side of the academic fishbowl.- The New York Times
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Reviewed by
Manohla Dargis
It’s easy to laugh at Street Kings for its bigger than big emotions, its preposterously kinky narrative turns and overwrought jawing and yowling, but there’s no doubt that it also keeps you watching, really watching, all the way to the end.- The New York Times
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