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. The enjoyment in Vincent and Theo comes more from the director's attention to art history than from his ability to interpret it anew.
  2. The plot of Alan Partridge (also known as “Alan Partridge: Alpha Papa”) is designed not for coherence but to maximize the chances for Mr. Coogan to riff in character and to bring his alter ego to the very edge of either improbable likability or utter awfulness.
  3. The Secret Disco Revolution, however limited, is one smart documentary. It’s so clever that it makes fun of itself.
  4. The Vulture is a mess of prickly contradictions, only some of which seem intentional. His criminality, rage and perhaps his madness have been stoked by class resentment and Mr. Keaton, with his white-hot menace and narrowing eyes, makes him a memorably angry man, not a caricature.
  5. No one is as intriguing as the thoughtful, soft-spoken Mr. Fanning, a onetime idealist thwarted by the piracy label and the dated assumptions of a calcified communications infrastructure.
  6. At once loose and dense, Ms. Endo’s treatment wilts somewhat when drawn out to feature length, though it’s a nice place to visit.
  7. For the right age group, though, the film hits its marks: It’s wholesome, engaging and rife with impressive aquatic photography.
  8. Stargate is a clever adventure that should find its audience.
  9. What distinguishes Breathe In from countless similar movies about marital discontent and disruption is the restraint with which the story is handled, the subtlety of its performances and its almost perverse refusal to turn into a prurient, heavy-breathing examination of adultery and its consequences.
  10. The Shine of Day pulls itself together with an ending that feels a bit ready-made for drawing out the parallels between its kindred performers. But the movie gratifyingly observes the openness that seems the base line for Philipp and Walter, and the glimmer of realization in a stage actor about the void that may lurk among his many liberating roles.
  11. Using mostly amateur performers and improvised dialogue, Mr. Silver has created a profoundly awkward riff on dysfunction that’s uneventful but not unrewarding.
  12. By the time the long, throbbing concert finale begins, there is no doubt that Mr. Brown’s intensity has not faded over the years and that the Stone Roses’ breakup was a serious loss.
  13. Cool and cerebral, Apparition stubbornly resists our desire to connect with its troubled characters... Even so, the film’s sophistication creates space for us to ponder deeper, unanswered questions.
  14. Along the way the movie strikes its chosen couple of notes resoundingly, making clear what makes Singh run.
  15. To borrow from a term for the gritty, working-class British dramas that this film also nods to, it’s a kitchen-sink caper.
  16. The Rooftop is frenzied, funny and knowing, drenched in lavish, often surreal, imagery.
  17. There’s nothing flashy about The Romeows the film or the Romeows the men, but what they’ve created — their life’s art — matters.
  18. Smash and Grab has a grating, repetitive score and can look a little homely on the big screen. But unlike many true-crime accounts, it cherry-picks its material successfully and preserves the conspiratorial sense that we’re learning the ins and outs of an illicit art.
  19. The film produces moments that catch in the throat.
  20. The weave of the personal and the political finally proves as irresistible as it is moving, partly because it has been drawn from extraordinary life.
  21. For all its flaws, the movie, filmed with nonprofessional actors, is steadily gripping.
  22. National Lampoon's Vacation, which is more controlled than other Lampoon movies have been, is careful not to stray too far from its target. The result is a confident humor and throwaway style that helps sustain the laughs - of which there are quite a few.
  23. It’s hard to score big laughs with hidden-camera material these days because there has been so much of it since the “Jackass” TV show, but Mr. Knoxville and his young sidekick still land a few jaw-droppers.
  24. [Mr.Tillman] does lovely work here, particularly with the actors, even if his insistent ebullience can feel like a sales pitch.
  25. Since we can’t all attend Burning Man, we can be thankful for “Spark,” which is probably the next best thing.
  26. Mr. Buschel, armed with an ear for diverting dialogue and actors who know how to sell it, somehow makes it all work.
  27. This virtuous stance is not unusual for issue-based documentaries, but a film with such illuminating content deserves a more artful vehicle for its moving message.
  28. Ms. Kapoor, in her early 20s, gives a performance that seems to reinvent female confidence.
  29. Neighbors is not a great film and does not really aspire to be. It is more a status report on mainstream American movie comedy, operating in a sweet spot between the friendly and the nasty, and not straining to be daring, obnoxious or even especially original. It knows how to have fun. How very grown-up.
  30. Yes, the animated opening sequence has a professional polish that the rest of the film lacks, but the documentary’s chosen angle is meaningful: The world of autism is as diverse as the nation.

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