The New York Times' Scores

For 20,323 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:
20323 movie reviews
  1. At its sloppy heart, this is meant to be an affirming movie, but the filmmakers could have taken a cue from one line of dialogue: “Don’t just feel special. Be special.”
  2. The diagrammatic script, by Jarret Kerr, has wit but could sometimes use more nuance. But there are tasty performances.
  3. In Mr. Hawke’s extraordinary performance, this glamorous enigma becomes a credible, if pathetic character who lives for only two things: to play the trumpet and to shoot heroin.
  4. The storytelling becomes muddled in the middle, and the suspense doesn’t build as well as it ought to, but the winking undercurrent keeps the film watchable.
  5. This appealing documentary makes you understand why aficionados regard baseball as a form of poetry.
  6. The comedy is forced, the drama nonexistent and the actors melt into a yapping clan that seems to go everywhere en masse — a gesticulating blob of upraised shoulders and upturned palms.
  7. It is about as diverting as having a porcelain sink broken over your head.
  8. If nothing else, it’s evidence that the digital age has opened up new ways to work through grief.
  9. Mr. Shirai nicely shuffles in the back stories of several workers, and his shots of sky, sea and early morning landscapes could fit amid Hokusai woodcuts.
  10. Digging into the psychological space between her wildly public life and intensely private death, Everything Is Copy is a pickle slathered in whipped cream. Just like its subject.
  11. Mr. Sobel’s film skates past any persuasive sense of motivation.
  12. The movie, beautifully shot and acted, earns its ultimate sense of hope by confronting real heartbreak head-on, and with compassion.
  13. As a tribute to NASA, A Space Program is rich in the core elements that have always propelled humanity’s flights of fancy: imagination and the right tools.
  14. This film fails even to evoke the ’80s in costumes, soundtrack or other atmospherics.
  15. The film doesn’t have the focus, pacing or plotting of the best of such bromance tales.
  16. When Krisha stands in the kitchen, wild-eyed amid all these human sights and sounds, you see a woman overwhelmed by life itself, as well as a movie that is an expressionistic tour de force.
  17. The pleasures are modest but rewarding in Bob Nelson’s character study The Confirmation.
  18. Feels as if it’s arriving late to its discoveries and, given the current political climate, as if it’s only scratching the surface.
  19. The cleverest and most troubling aspect of the film is its empathy.
  20. The Program, much to its detriment, concentrates almost exclusively on the history of the doping effort.
  21. My Golden Days is a memory movie, a story told through a glass darkly.
  22. Ms. Rauch (who wrote the film with her husband, Winston Rauch) nails the portrayal admirably under Bryan Buckley’s direction. But that doesn’t mean Hope is anyone you want to spend almost two hours with.
  23. Like the Muppets and the Simpsons, Pee-wee Herman seems not to age. But in his new Netflix movie, Pee-wee’s Big Holiday, he does take things down a notch; he’s less frenetic and more reactive.
  24. The charm and audacity of this film lie in the way it blends the commonplace and the bizarre.
  25. A story that kicked off two years ago at a reasonable gallop has now slowed to barely a limp.
  26. Until it delivers an eye-rolling scene near the end, Miracles From Heaven is an unexpectedly effective tear-jerker. More surprising still, that late diversion doesn’t negate much of the movie’s early sincerity.
  27. As with Mr. Farhadi’s other films, every detail of speech and body language resonates.
  28. For all the healing here — the revived include a bird, an ailing uncle and a blind man — The Young Messiah performs no miracles.
  29. The scenarios and their attendant psychologies are utterly conventional, but the characters and cast are appealing in equal measure.
  30. Mr. Peng has charisma, though his moves are less convincing than those of an earlier Fei.... But “Legend” does offer the hefty authority of Mr. Hung, who at 64 can still — almost — hit, kick and do wire work with the best of them.

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