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 portraits drawn of these young people frequently feel half-finished.
  2. Although produced independently, this documentary, directed by Kirk Simon, plays as if the Pulitzers were presenting an award to themselves.
  3. Because it is a French film, or rather the kind of French film that wants to serve its sentimentality with a dollop of prestige, The Midwife doesn’t offer an entirely shameless version of the “dying free spirit imbues uptight caretaker with a new lust for life” scenario.
  4. For all the profanity and naughty behavior, it has the timid, ingratiating vibe of a television sitcom, sticking to safe and familiar emotional territory.
  5. Certainly, the senselessness of bloodshed may be Mr. Power’s point. But with this setup, such a message is all but muted.
  6. Ms. Covi and Mr. Frimmel’s Mister Universo is a disarming and humane picture, an unexpected delight.
  7. Mr. Escalante is an exceptionally deft and subtle realist, and you sometimes feel, in “Heli” and even more so in The Untamed that he is drawn to extremity partly out of boredom with his own skill.
  8. Even seasoned defenders of cryptic formalism may find it amorphous. The characters are never named, the camera work is static, and little that’s conceptually interesting materializes.
  9. The result is a dazzlingly imaginative movie about survival.
  10. The director, Klaus Haro, films the proceedings involvingly enough.... But the movie is almost relentlessly predictable and formulaic — a story of one man’s refusal to conform that dutifully hits all its marks.
  11. Amnesia, Mr. Schroeder has said, is a story partly based on his mother, who refused to speak German, so perhaps it’s no surprise that it’s strongest when it focuses on Martha, a character Ms. Keller inhabits gracefully.
  12. To say that “Valerian” is a science-fiction epic doesn’t quite do it justice. Imagine crushing a DVD of “The Phantom Menace” into a fine powder, tossing in some Adderall and Ecstasy and a pinch of cayenne pepper and snorting the resulting mixture while wearing a virtual reality helmet in a Las Vegas karaoke bar. Actually, that sounds like too much fun, but you get the idea.
  13. The movie, directed by Steven C. Miller, doesn’t hold a lot of surprises, but there is worse terror-in-the-woods fare out there — rather a lot of it, in fact.
  14. A dramatic life does not necessarily a dramatic film make.
  15. On the whole, Becoming Bond is sufficiently winning that you might even forgive its chapter titles, each one a worse-than-the-previous play on a James Bond-associated phrase
  16. The movie is at its most entertaining when detailing the making of “Midnight Express” and the contentious personalities involved.
  17. Dunkirk is a tour de force of cinematic craft and technique, but one that is unambiguously in the service of a sober, sincere, profoundly moral story that closes the distance between yesterday’s fights and today’s.
  18. Girls Trip adds complexity to the picture by bringing in class, even as it dispatches with whiteness, showing it the door so that these women can find themselves while rediscovering the power and pleasures of sisterhood.
  19. Santoalla ends with the mystery solved. The threads that remain hanging imbue this peculiar story of paradise lost with a tragic resonance.
  20. The whole turns out to be less than the sum of its elegantly constructed and cleverly uncategorizable parts.
  21. In the end, The Wrong Light is an engrossing cautionary tale teaching one of philanthropy’s oldest lessons: Caveat emptor.
  22. Birthright: A War Story packs a powerful message: that reproduction has become perilous for women in America.
  23. We’re left once again feeling we’ve had only a glimmer of illumination on a vexingly complex problem.
  24. Mr. Oldroyd boxes Katherine in his attractive visuals, imprisoning her as her male relatives do. Yet his intellectual distance also turns her into a specimen, a pinned butterfly turned taxidermy beast.
  25. There is little to recommend here, even for Huppert completists who follow her anywhere.
  26. The songs are unmemorable and the choreography less than twinkle-toed, but the lyrics are a delight.
  27. The film, directed by Michael Mailer, wanted to be a steamy romance, but it ended up leaden and occasionally laughable.
  28. The splatter is deployed cautiously and sometimes wittily, the story moving briskly from wishes granted to costs exacted with the help of familiar faces (including a warm Sherilyn Fenn as Clare’s surrogate mother) and a sympathetic lead.
  29. It’s an environmental tragedy of our own making, the film heartbreakingly argues, that has little hope of being reversed without immediate human intervention.
  30. The images in Endless Poetry are arresting and sometimes disturbing, but there is an earnest commitment to ecstasy and authenticity that renders moot any question of offensiveness or exploitation.

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