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. With enough tragic-restorative plot twists for a 12-hour mini-series, Botso is an enchanting film for two reasons: Mr. Korisheli’s humanity is magnetic, and no more beautiful case could be made for the psychological healing power of making music.
  2. If the movie’s hilariously cruel treatment of the halt and the lame upsets you, you can enjoy the crisp cinematography, operatically repulsive effects and frequently witty dialogue.
  3. The appealing Mr. Corden manages the not insignificant task of maintaining interest in a story whose climax has already been passed around on YouTube.
  4. The actors don’t do all the heavy lifting by themselves. The uniformly good performances make it clear that Mr. Melfi knows how to handle actors, and there are some funny bits.
  5. Various secrets come dribbling out... They add up to a sprawl of narrative that is as unconvincing as the suspiciously sprawl-free, nostalgia-tinged town where it all takes place.
  6. Anne Hathaway made a splash in Disney’s “The Princess Diaries,” and the rangy Ms. Kapoor (who descends from a Bollywood dynasty) shares some of her early incandescence, along with a Julia Roberts-like smile.
  7. It’s all high-end flash, but less romantic than wearying.
  8. Holly is supposed to be out of Guy’s league, but neither of them is up to carrying scene after scene of weak sparring and punny flirting.
  9. Soft in tone and muted in color, Waiting for August is a child’s-eye view of one family — among many in today’s Romanian economy — rising to the challenge of living without parents.
  10. The narration promises surprises (“This story may challenge what you think you know about the roles men and women play in Mormon homes”), but the movie might have started by examining its straw-man conception of the audience.
  11. The film’s writer and director, Ivan Kavanagh, and his team pull off a few enjoyable, decently creepy scares, but over all, the action is too cryptic, and the pedestrian dialogue doesn’t help.
  12. Mr. Harmon is delightfully talented at improvisation, freestyling nonsense lyrics. Mr. Berkeley, on the other hand, proves himself a dismayingly predictable chronicler, making sure that we know exactly what we’re supposed to think and efficiently packaging jokes and revelations.
  13. There are interesting ideas here, but they are swallowed up in dull, poorly choreographed shootouts and other action nonsense.
  14. A blue-collar meditation on the meaning of community and the imperative of compassion, one that endures even as an unexpectedly prurient drama unfolds at its center.
  15. Alexander and the Terrible, Horrible, No Good, Very Bad Day is the latest example of a wonderful children’s book turned into a mediocre movie.
  16. It may get a few things wrong, but it aims at, and finally achieves, an authenticity at once more exalted and more primal than mere verisimilitude.
  17. Mr. Clayton and Miss Kerr have neglected to interpret the tale and character with sufficient incisiveness and candor to give us a first-rate horror or psychological film. But they've given us one that still has interest and sends some formidable chills down the spine.
  18. At its best, the movie has a sort of sitcom feel, with swift pacing and delivery, and the strong ensemble cast has a natural rapport.
  19. Though the political backdrop often overwhelms or distorts the family drama, Mr. Bhardwaj provides the occasional sharp reminder of how cinematically he can construct Shakespearean moments.
  20. This vivid and haunting essay steps away from the debate about illegal immigration.
  21. Airless, senseless — and seemingly endless — this clumsy heist movie, directed by the prolific schlockmaster Brian Trenchard-Smith, manages to make even the magnificent coastline of Queensland, Australia, feel dreary.
  22. The Hero of Color City cannily distills the children’s movie to its lowest common denominator: bright colors flashing on screen.
  23. While the director, Peter Askin, employs an all-too-customary suspense arsenal (vertiginous stairway perspectives, foreboding thunderstorms, ominous headlights), Mr. King’s script offers a wealth of behavioral details.
  24. Mark Raso’s first feature, Copenhagen, takes on a taboo — great for high-stakes storytelling, if it’s not used to generate empty shock. Worry not: His absorbing film has a delicate nuance that will linger after the popcorn’s gone.
  25. Mr. Amalric, who directed this dark, delectable, shivery tale, adapting it from the Georges Simenon novel, sets its uneasy, dank mood with energetic economy.
  26. The main drawback of Inner Demons, no matter how skillful the presentation may be here, is the overriding sense that this has all been done before.
  27. Fishing Without Nets turns the hijacking drama into a morally murky contemplation of deprivation and desperation.
  28. Like other stories of musical tutelage, Keep On Keepin’ On is ultimately an examination of the pursuit of greatness. It is a grueling and demanding endeavor, for sure, but also, for Mr. Terry and anyone lucky enough to enter his orbit, a source of unending joy.
  29. The fates of several of the movie’s bitcoin entrepreneurs are unlikely to send viewers rushing to exchange their dollars. But The Rise and Rise of Bitcoin nevertheless functions as an entertaining portrait of the unshakable optimism that governs what’s been called a financial Wild West.
  30. This film could have been more surely and deftly put together.

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