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. In this visual caress of postindustrial blight, disintegration has never looked so gorgeous.
  2. A charming concoction with positive messages for younger children about conquering fears, understanding outsiders and knowing yourself.
  3. The decision to focus on the series’s comic relief has resulted in the loosest and perhaps funniest film of the brand.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. This observant documentary avoids pedagogy; it's not always artful, but it has a relaxed, light touch that never topples into pretension.
    • 85 Metascore
    • 70 Critic Score
    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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. There's an ugly, jittery beauty to Pusher, a very fine British redo of a 1996 Danish movie of the same title.
  21. Mr. Laue is an intriguing subject, smart, affable and with a dry wit.
  22. Despite the bracing beauty of the wilderness, and the respite provided by cubs at play, the movie is primarily a sobering treatise on survival.
  23. The result is exhausting but undeniably exhilarating.
  24. 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.
  25. 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.
  26. The director, John Crowley, handles Steve Knight’s snaky script capably, introducing the characters, their backgrounds and the political stakes in bold strokes.
  27. 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.
  28. 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.
  29. 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.

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