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
Jeannette Catsoulis
In this visual caress of postindustrial blight, disintegration has never looked so gorgeous.- The New York Times
- Posted Sep 9, 2012
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Reviewed by
Neil Genzlinger
A charming concoction with positive messages for younger children about conquering fears, understanding outsiders and knowing yourself.- The New York Times
- Posted Mar 26, 2015
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Reviewed by
Ben Kenigsberg
The decision to focus on the series’s comic relief has resulted in the loosest and perhaps funniest film of the brand.- The New York Times
- Posted Nov 25, 2014
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Reviewed by
Ben Kenigsberg
If you’ve spent any time with these characters, it’s hard not to get swept up in the saga, and it’s easy to be moved by the bond between Hiccup and Toothless, who is, in effect, a very loyal dog who can fly and harness the power of lightning bolts.- The New York Times
- Posted Feb 21, 2019
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Reviewed by
A.O. Scott
The charm of Radio Unnameable is, finally, elegiac. It can make you wish - or, if you're lucky, remember - that you were a sleepless New Yorker in 1967, kept from loneliness by a gentle, soulful voice on the radio.- The New York Times
- Posted Sep 19, 2012
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Reviewed by
Andy Webster
Robert H. Lieberman, a novelist, filmmaker and professor at Cornell University, took three years to shoot documentary footage surreptitiously during assignments for the United States Embassy and a nongovernment organization. The result is eye-opening and insightful.- The New York Times
- Posted Sep 20, 2012
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Stephen Holden
Except for a subplot about a missing cat that suggests that Fred may be considerably dottier than he appears, the movie gets almost everything right about the uncomfortable moment when grown children are forced to be their parents' parents.- The New York Times
- Posted Sep 20, 2012
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Reviewed by
Andy Webster
The dishes dazzle in Lutz Hachmeister's documentary Three Stars, a cinematic helping of some of the world's finest restaurants - and of their chefs' opinions.- The New York Times
- Posted Sep 20, 2012
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A.O. Scott
The three-part story, spread over nearly two and a half hours, represents a triumph of sympathetic imagination and a failure of narrative economy. But if, in the end, the film can’t quite sustain its epic vision, it does, along the way, achieve the density and momentum of a good novel.- The New York Times
- Posted Mar 28, 2013
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Andy Webster
The narratives - involving princesses, sorcerers, dragons, talking animals - are familiar. But Mr. Ocelot invigorates them with lyricism: silhouettes evoke shadow plays, and often brilliant palettes reflect the cultures presented.- The New York Times
- Posted Sep 25, 2012
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Reviewed by
Rachel Saltz
The filmmakers retain a touching faith that most Americans won't tolerate injustice when they know about it. This film is meant to teach them.- The New York Times
- Posted Sep 27, 2012
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Reviewed by
David DeWitt
This observant documentary avoids pedagogy; it's not always artful, but it has a relaxed, light touch that never topples into pretension.- The New York Times
- Posted Oct 12, 2012
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Since Outback is a film I mostly admire, I had better allow that it is not without flaws. But they are flaws—in plotting, in Kotcheff's penchant for using five camera positions at a time where one might do—that may be, not overlooked, but safely admitted in a work that really does move from its strengths rather than its weaknesses.- The New York Times
- Posted May 15, 2020
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Reviewed by
Jeannette Catsoulis
Advocating freedom from a system that "doesn't want you to die and doesn't want you to get well," this hard-hitting film leaves us finally more hopeful than despairing.- The New York Times
- Posted Oct 4, 2012
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Reviewed by
Andy Webster
There is no mistaking Mr. Bugliosi's conviction, nor the thoroughness of his research, which largely concerns the Bush administration's claims of Iraqi weapons of mass destruction.- The New York Times
- Posted Oct 16, 2012
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Reviewed by
Manohla Dargis
Measured in tone and outraged in its argument, it is an emotionally stirring, at times crushingly depressing cinematic call to witness. It's also frustrating because while it re-examines the assault on the jogger and painstakingly walks you through what happened to the teenagers - from their arrest through their absolution - it fails to add anything substantively new.- The New York Times
- Posted Nov 21, 2012
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Reviewed by
Manohla Dargis
In Edge of Tomorrow, Mr. Liman brings Mr. Cruise’s smile out of semiretirement and also gives him the kind of physical challenges at which he so brilliantly excels.- The New York Times
- Posted Jun 5, 2014
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Nicolas Rapold
Even though the film drags, the magic of Bollywood is that this story's muddle of twists only clarifies the urgency behind the undying desires of all concerned parties.- The New York Times
- Posted Nov 14, 2012
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Nicolas Rapold
The film is most illuminating in showing how democratic practice can still find a new voice and innovative means with each generation. The fascinating efforts of Anonymous can be messy, but so are many freedoms when asserted so boldly.- The New York Times
- Posted Oct 18, 2012
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Reviewed by
Jeannette Catsoulis
Though at times a tad worshipful, the film's tone is ultimately more awed than hagiographic, its commenters too cleareyed and candid to back away from negative publicity or public disenchantment.- The New York Times
- Posted Oct 19, 2012
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Reviewed by
Manohla Dargis
There's an ugly, jittery beauty to Pusher, a very fine British redo of a 1996 Danish movie of the same title.- The New York Times
- Posted Oct 26, 2012
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Reviewed by
Daniel M. Gold
Mr. Laue is an intriguing subject, smart, affable and with a dry wit.- The New York Times
- Posted Oct 26, 2012
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Reviewed by
Nicolas Rapold
Despite the bracing beauty of the wilderness, and the respite provided by cubs at play, the movie is primarily a sobering treatise on survival.- The New York Times
- Posted Apr 17, 2014
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- The New York Times
- Posted Nov 2, 2012
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Reviewed by
Jeannette Catsoulis
Pim's withdrawn demeanor and inability to verbalize his emotions - the character is basically one big ache - make it more challenging than it should be to immerse ourselves in his journey.- The New York Times
- Posted Nov 1, 2012
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Reviewed by
Daniel M. Gold
While the film ends abruptly, leaving you to wonder about the rest of the brothers’ lives, those tales can’t have matched the ordeals of their start.- The New York Times
- Posted Feb 28, 2013
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Reviewed by
Manohla Dargis
The director, John Crowley, handles Steve Knight’s snaky script capably, introducing the characters, their backgrounds and the political stakes in bold strokes.- The New York Times
- Posted Aug 28, 2013
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Stephen Holden
An outraged, unblinking depiction of institutionalized homophobia three decades ago, when the prevailing court opinion in adoption cases was that exposing a child to a homosexual environment was harmful. Never mind that nobody else wants Marco.- The New York Times
- Posted Dec 13, 2012
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A.O. Scott
What the point here might be is a bit more elusive. It may be simply to allow Ms. Huppert, one of the most adventurous actresses in movies, the opportunity to try something new. And that might be enough.- The New York Times
- Posted Nov 8, 2012
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Reviewed by
Manohla Dargis
Schadenfreude carries a delectable tang no matter the language, and as the history of Hollywood shows, stories about pretty people behaving badly remain reliably alluring.- The New York Times
- Posted Nov 8, 2012
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Reviewed by