For 20,324 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: 9,408 out of 20324
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Mixed: 8,449 out of 20324
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Negative: 2,467 out of 20324
20324
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Stephen Holden
Romantics Anonymous might vaporize if the director and the actors didn't have such easy command over the tone of this singularly Gallic fairy tale. If you added a dozen songs and brought it to the stage it would be completely at home.- The New York Times
- Posted Nov 25, 2011
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Jeannette Catsoulis
As we join throngs of excited citizens at a public vote-counting, their uninhibited zeal for the process only highlights the jaded cynicism that threatens to overwhelm our own.- The New York Times
- Posted Nov 29, 2011
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Reviewed by
Stephen Holden
Paints an alluring picture of a pan-European cosmopolitan culture whose characters hopscotch from one country to another with hardly a second thought in a lighthearted floating party.- The New York Times
- Posted Dec 9, 2011
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Reviewed by
Bosley Crowther
The excitement derives entirely from the awareness of nitroglycerine and the gingerly, breathless handling of it. You sit there waiting for the theatre to explode.- The New York Times
- Posted Jul 1, 2020
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Reviewed by
Neil Genzlinger
It's a Christmas present for cat lovers. Miss Minoes, the tweaked title of a 2001 Dutch film by Vincent Bal, is being given an American theatrical run (dubbed into English), and it's a pleasantly quirky, family-friendly fable with lots of meowing.- The New York Times
- Posted Dec 22, 2011
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Reviewed by
Stephen Holden
A conventional, rather shallow up-by-your-bootstraps drama, but with a difference.- The New York Times
- Posted Jan 12, 2012
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Jeannette Catsoulis
Niall MacCormick's direction, while unfocused, locates a sweet center in the bonding of the two young girls, effortlessly capturing the way unexpected friendship, like first love, can completely alter the look of the world.- The New York Times
- Posted Jan 12, 2012
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Reviewed by
Jeannette Catsoulis
Photographed in crisp black and white by Nat Bouman, this enormously likable movie keeps sexual politics on the back burner and the universal search for connection front and center.- The New York Times
- Posted Jan 5, 2012
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Reviewed by
Stephen Holden
Because Kurt Markus's Super 8 camera is the cinematic equivalent of a single microphone, the film's look matches the scratchy quality of its ancient (by rock 'n' roll standards) sound. The crudeness brings out the elemental quality of music that digs deeply into the soil of working-class American life in songs that express the defiance, despair and nobility of people who refuse to go down without a fight.- The New York Times
- Posted Jan 3, 2012
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Reviewed by
Jeannette Catsoulis
Nevertheless the fierce loyalty of Mr. Liebling's nearest and dearest is extremely touching, and Last Days Here - despite its stinginess with back story and early performance footage - works hard to reveal the man beneath the four-decade heroin habit.- The New York Times
- Posted Mar 1, 2012
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Reviewed by
A.O. Scott
While Frankenweenie is fun, it is not nearly strange or original enough to join the undead, monstrous ranks of the classics it adores.- The New York Times
- Posted Oct 4, 2012
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Reviewed by
A.O. Scott
The hope that infuses this movie makes it all the more upsetting to walk out of the theater and contemplate a looming disaster that the world's leaders seem unable to prevent.- The New York Times
- Posted Mar 29, 2012
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Reviewed by
A.O. Scott
The look, the rhythm and the scruffy, on-the-fly ambience of the film make it feel unusually fresh and lively. It may be the same old song, but it's also a catchy remix.- The New York Times
- Posted May 10, 2012
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Reviewed by
A.O. Scott
The movie, by virtue of its self-conscious parody of the kind of movie it is, turns out to be an unusually smart and sensitive example of the genre.- The New York Times
- Posted May 10, 2012
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Reviewed by
Jeannette Catsoulis
That assured style is the spackle that holds Kill List together: when the plot doglegs into insanity, and the characters follow suit, this brutal fever dream refuses to fall apart.- The New York Times
- Posted Feb 2, 2012
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Reviewed by
Manohla Dargis
A smart, effectively unsettling movie about the need to believe and the hard, cruel arts of persuasion.- The New York Times
- Posted Apr 27, 2012
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A.O. Scott
To a die-hard Maddinite this may be a little disappointing, but for that reason Keyhole may also be a perfect gateway into the bizarre and fertile world of a unique film artist.- The New York Times
- Posted Apr 5, 2012
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Reviewed by
Manohla Dargis
Mr. DeHaan, whose vulnerability and physical awkwardness here can evoke the young Leonardo DiCaprio in "What's Eating Gilbert Grape," is invaluable. Mr. Russell and Mr. Jordan are as likable as their characters, but it's Mr. DeHaan who pulls you uneasily in.- The New York Times
- Posted Feb 10, 2012
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Reviewed by
Andy Webster
A real-life examination of competitive surfing in Papua New Guinea, the film derives tension from the proverbial big tournament but also from how the event helps foster a worthy morality.- The New York Times
- Posted Feb 2, 2012
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Reviewed by
Jeannette Catsoulis
Highlighting the wacky while playing down the distasteful, Marie Losier's playful profile of the English musician and artist Genesis Breyer P-Orridge and his second wife, Lady Jaye, takes a lighthearted look at the things they did for love.- The New York Times
- Posted Mar 8, 2012
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Reviewed by
Manohla Dargis
An appealing, largely upbeat documentary about young ballet dancers duking it out.- The New York Times
- Posted May 3, 2012
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Reviewed by
Neil Genzlinger
The film would be stronger if it told us a little more about what the survivors have been doing since the camp was liberated by the Soviets in 1944, but their reactions to revisiting the camp are wrenching to watch.- The New York Times
- Posted Feb 11, 2012
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Reviewed by
Stephen Holden
In this stratum of Middle American society during wartime and hardship, the movie suggests, life is tough and challenging. You admire these characters for their considerable resilience while understanding that even the best-intentioned people can break under the stress.- The New York Times
- Posted Feb 9, 2012
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Reviewed by
Andy Webster
Revelations unfold predictably, but the subplots cohere and the assured pacing offers a stark contrast with the often disjointed tempos of Mr. Perry’s mosaics.- The New York Times
- Posted May 9, 2013
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Reviewed by
Rachel Saltz
Well made, and for once the talking-heads format is satisfying.- The New York Times
- Posted Feb 11, 2012
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Reviewed by
Manohla Dargis
An elegant, elegiac found-footage work from Bill Morrison, best known for his silent-film reverie "Decasia."- The New York Times
- Posted Feb 7, 2012
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Reviewed by
A.O. Scott
A modest superhero picture may sound like a contradiction in terms, but really it is a welcome respite.- The New York Times
- Posted Jul 25, 2013
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Reviewed by
Stephen Holden
Ms. Madsen, radiant and tousled, without a trace of narcissism, conveys maternal devotion, undaunted courage and a serene sensuality. Real, if idealized, grown-ups: We haven't seen them much in the movies lately, but here they are.- The New York Times
- Posted Jul 5, 2012
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Reviewed by
A.O. Scott
Unabashedly polemical and rigorously pessimistic, a sustained Marxian indictment of 21st-century capital. The narration, by Mr. Sekula, is at times lyrical and rarely subtle, but the film is most graceful and moving when its argument slows down or wanders into an interesting tangent.- The New York Times
- Posted Feb 16, 2012
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Reviewed by
Manohla Dargis
The monster that creeps into the satisfyingly shivery horror film Intruders doesn't just hide under the bed, it also lurks in dark corners, including those dimmed by your own imagination.- The New York Times
- Posted Mar 29, 2012
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