The New York Times' Scores

For 20,324 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:
20324 movie reviews
  1. There’s not much new under the moon here, which makes what the writer and director Richard LaGravenese does with the story all the more notable.
  2. Good for Nothing may be slight, but it portends a promising frontier for Mr. Wallis.
  3. The film is well organized and visually snazzy and keeps enough distance from its subject that you don't feel swamped in a tide of hysterical fandom.
  4. Hilali and Benghabrit were real people. Mr. Ferroukhi, who wrote the script with Alain-Michel Blanc, deftly interweaves their stories with the adventures of the fictional Younes, and so contributes a worthy and interesting chapter to the tradition of World War II dramas of conscience.
  5. Though it eventually includes landscape and wildlife, Where Are You Taking Me? is no survey of Uganda; it's too quiet, slow and personal for that. But the film is an unusual, visually rich visit to the nation.
  6. That time machine - a wonderful-looking gizmo with some lasers stolen from a medical laboratory - really exists. Whether it works or not, you'll have to see for yourself. It's worth the wait.
  7. Movie merits include a good cast, a tidy script and jokes just provocative enough.
  8. Doesn't aspire to be more than a broad, sloppy, old-fashioned sitcom with a sexy gimmick. But it is quite funny.
  9. Gerhard Richter may not fling paint at the canvas, Jackson Pollock-style, but as Corinna Belz shows in her documentary Gerhard Richter Painting, he can be his own kind of action painter.
  10. Quietly powerful but dispiriting documentary, which compares the world's oldest profession as practiced from place to place.
  11. Hit So Hard is the touching story of how and why Ms. Schemel ended up in her own private hell and how and why she made her way out again into the world of sunshine, sobriety and puppy dogs.
  12. M. Carne has created a frequently captivating film which has moments of great beauty in it and some performances of exquisite note.
  13. Performing Shakespeare can save children's lives. That is the persuasive argument of Alex Rotaru's documentary Shakespeare High, an inspiring, if too short and overcrowded, examination of the competition among high schools at the 90th annual Drama Teachers Association of Southern California Shakespeare Festival.
  14. Filmed in high-definition black and white, Ms. Menkes's often exquisite compositions - a single, attenuated shot of the aftermath of a car crash is a miracle of choreography - drive a narrative mired in poverty and spiritual desperation.
  15. A muscular, maddening exploitation movie embellished with art-house style and anchored by solid performances.
  16. At times it felt as if this film might challenge Pixar’s decade-long reign, but that promise wanes. Instead, the movie is sometimes so strange, colorful and wildly cute that it may end up becoming a “Yellow Submarine” for a new generation.
  17. Meta to the max, filled with clever jokes and observations that stick like barbs and deflated ones that land with a thud, Seven Psychopaths is a leisurely riff about movies, violence, storytelling and the art of the steal.
  18. The taunts in the ring may be make-believe, but the slams against the mat are agonizingly genuine in Robert Greene's vivid documentary Fake It So Real.
  19. There's charm aplenty in Pang Ho-Cheung's Love in the Buff, a romantic comedy that is as interesting for its glimpse into contemporary urban China as it is for the charisma of its leads.
  20. This smart, cool-headed film, which has a "Rashomon"-like vision of the case, presents a disturbing picture of courtroom justice and how different people come to opposite conclusions, based on the same testimony.
    • tbd Metascore
    • 70 Critic Score
    In essaying a dissection of the minds of men under the stress of war, Stanley Kubrick, 24-year-old, producer-director-photographer, and his equally young and unheralded scenarist and cast, have succeeded in turning out a moody, often visually powerful study of subdued excitements.
  21. A sad chronicle of absent fathers and messed-up mothers, drugs as currency and violence as the period at the end of every argument.
  22. Therein lies the essence of this simple, bluntly effective movie. Its principal selling point - the supreme watchability of dogs, especially working dogs - is undeniably powerful.
  23. Spiked with energy and attitude, the nonfiction movie Fightville takes a fast look at a few men who, for pleasure and sometimes profit, like to smack and take down other men while practicing mixed martial arts.
  24. This riveting account of thug life - the unglamorous, impoverished variety - is punctuated by constant profanity and undecipherable slang, occasional violence, steady drinking and weed or crack smoking.
  25. Ms. Peirce plays up the story’s religious themes and Carrie’s burgeoning power as she discovers her telekinetic gifts, even as the dread of the female body that deepens Mr. De Palma’s version somehow goes missing.
  26. Mr. Aronofsky’s earnest, uneven, intermittently powerful film, is both a psychological case study and a parable of hubris and humility. At its best, its shares some its namesake’s ferocious conviction, and not a little of his madness.
  27. Mr. De Felitta's moody, well-rounded film is a kind of excavation and investigation of Mr. Wright's actions as a piece of civil rights history.
  28. Inventing Our Life is a fascinating introduction to a movement scrambling to adjust enough to guarantee a future, without severing all ties to its principled past.
  29. More grounded in simple observation than in fanciful theories, this effortlessly engaging story of sudden tragedy and halting recovery wisely focuses on the facts and leaves the wonder to the audience.

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