The New York Times' Scores

For 20,335 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:
20335 movie reviews
  1. Quiz Lady, a mostly winning comedy directed by Jessica Yu, is elevated most of all on the shoulders of Oh’s delightful and nuanced performance.
  2. The film’s gentle detours into the real-life stories remind us that it is the people met on the road that so often make the trip memorable.
  3. Cousins’s attuned eye and ear keep us interested afresh in the Hitchcock magic.
  4. As the team unearths evidence, the documentary offers a ripe window into the process of scientific discovery.
  5. The documentary is less an inspiring tale than a sobering wake-up call.
  6. The traps are disgusting; the plot, so self-serious its absurd (and knowingly so). And unlike the sundry sequels before it (by the third “Saw,” any pretense of ingenuity had been hacked off), this one manages to make you feel something beyond gross-out adrenaline — assuming you have affection for the franchise’s mainstays.
  7. Underneath its ridiculous framing and outer-space high jinks, “Jules” is full to the brim with empathy for its elderly characters and their desire for personal agency.
  8. [Abzug's] never-say-die advocacy still inspires, but the film also illustrates the merciless challenges of electoral endurance even for the fiercest fighter.
  9. Even though an oldtimer may view this Good News with mocking eyes—may mutter that, back in 1927, which is the advertised date of its events, the goal-posts were set on the goal-line and the huddle was an undeveloped freak—the pleasures of reminiscence which the picture affords are worthwhile. As for the untraditioned youngsters—especially the Lawford-Allyson fans—the stars and the dancing activity should adequately satisfy.
  10. Not all the material is equally striking, but the film has an original and at times disarming approach to bearing witness.
  11. El Agua succeeds as a portrait of the village’s traditions, both manual and cultural, brought to life by a largely nonprofessional cast (including Pamies, a striking discovery).
  12. Every so often an actor so dominates a movie that its success largely hinges on his every word and gesture. That’s the case with Colman Domingo’s galvanic title performance in Rustin.
  13. At times, the film is hampered by the sheer amount of information there is to condense from across a 50-year career, but Hardison is never less than a fascinating subject — an artist whose medium is industrial disruption.
  14. Uri and Raya (who have disarmingly direct affects) show a mix of insight and innocence that also feels like a faithful rendering of the vulnerability within a relationship.
    • 79 Metascore
    • 70 Critic Score
    In all, the picture adheres faithfully to the original and while it undoubtedly lacks the life and depth and color of the play, by means of excellent characterizations it keeps the audience on the qui vive.
  15. If today Presley really needs a sales pitch, this movie is a good one.
  16. With compelling verve, “Hall of Shame,” from the director Bryan Storkel, tells the story of Conte’s ignominious rise and fall.
  17. All Up in the Biz, a new documentary directed by Sacha Jenkins, is a cogent, affectionate and largely apt tribute to Markie, the D.J. and rapper who was known as a gifted beatboxer.
  18. The movie falters periodically under the weight of its own dream logic, which can be hard to follow or flimsily constructed as the story gains momentum. But it’s mostly easy to move past those flaws in a work of such rich magical realism and heart.
  19. There’s something tough to resist about how “We Kill for Love” rescues works from the shadows.
  20. The shifting story, written by Paltrow and Tom Shoval, complicates the act of commemoration and dwells on the moral quandaries and uncomfortable resonances that result from the events.
  21. While it’s unlikely to join the rom-com pantheon, its charming leads and humorous truths do invoke the spirit of Ephron, to whom the film is dedicated. It’s a worthy tribute to her, delivered by perhaps the most qualified person to create one.
    • 67 Metascore
    • 70 Critic Score
    Unlike "Funny Girl," the screenplay is rich, not in stereotypes (mothers, accents), but in anecdotes, and there is a wonderful confrontation between Jason Robards, as a slick, sleazy burlesque entertainer, and the owner of a restaurant, "a man from principle," over an order of bagels, which are thrown, one by one, to the floor, with rage and elegance.
  22. The most barbed aspect of the movie, a National Geographic release, is its acknowledgment of the role that National Geographic itself has played in exoticizing groups like the North Sentinelese.
  23. Office Race, a ribald comedy from Jared Lapidus about an inveterate deadbeat reluctantly training for a marathon, understands one of the great unspoken truths about running: that it is a miserable, arduous, soul-destroying pastime, and also deeply, profoundly rewarding.
  24. [Roth] knows his stuff and he’s very adept at serving up both gross-outs and real leap-from-your-seat moments.
  25. The heroic arc is creaky, but despite the chintzy clichés about Godzilla movies, this one keeps bringing blockbuster brio to heel with a sometimes heavy heart.
  26. This is a dark and timely parable about what happens when trust — among community members, within families, between a government and its people — disintegrates.
  27. As a drama, Woman of the Hour is effective and infuriating.
  28. The movie is full of goofy side characters and one-liners, yet elevated occasionally to genuine complexity by Colman and Buckley, who are consistently the best thing about any movie they’re in.

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