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. It is a work of obsessive artisanal discipline and unfettered artistic vision. You have never seen anything like it.
  2. Filled with crushing facts about animal cruelty yet also overstuffed and overwrought, it's emotionally and visually tough to watch.
  3. Poking the bear of repression has consequences beyond Mr. Zahedi's immediate artistic goals, as this layered, intermittently fascinating documentary makes abundantly clear.
  4. The film might have made a decent end-of-broadcast segment on a newscast. But inflated to feature length and devoid of nuance or fresh insights, it just seems self-congratulatory - aren't we great for having done this for these old guys? - and exploitive.
  5. A dully directed movie that sends a message but lacks oomph.
  6. In this overly sympathetic film he's a superhero without feelings, curiously bloodless except for the moment just before the China jump, when his mother presents him with his stepfather's ashes for inspiration.
  7. A haunting piece of fact-based Southern Gothic free of histrionics, Sahkanaga is a thoughtful, atmospherically heavy study of reactions to an inexplicably inhumane act.
  8. The worst thing about the animated film Delhi Safari isn't that it's awful. It's that it shamelessly rips off much better animated movies.
  9. Poised unwaveringly between gentle comedy and delicate drama, Maya Kenig's Off White Lies keeps a lot to itself. But this narrative withholding, while infuriating at times, presents no real barrier to our engagement with the film's unconventional look at the growing connection between a shy teenage girl and her shiftless father.
  10. Though powerfully acted and dazzlingly shot (by Walter Carvalho) in heavenly black and white, Heleno is a feverish opera that, like its doomed antihero, loses vitality much too soon.
  11. The film presents an often sharp commentary on dueling beliefs and idiocies that unfolds in lush pastel hues and distinctively retro drawings.
  12. Is the movie psychologically accurate? Yes. But that doesn't keep it from being a little dull.
  13. In the documentary Wagner & Me, the actor Stephen Fry, an ardent admirer of the music of Richard Wagner, wrestles with a longstanding problem for Wagner fans: how to reconcile that composer's musical genius with his racism.
  14. The movie is a bust, and, as usual in these situations, it is easier to say how than why, and best to say as little as possible, cut one's losses and move on.
  15. Mr. Burns shuffles this dense material with the dexterity of a card shark. The pace, although swift, is never rushed. The writing and acting give you vivid enough tastes of the characters - there are seven children, two parents, and assorted spouses, lovers and friends - so that each registers as a singular flavor.
  16. If the movie had more courage, it would lay waste these people as hilariously as Robert Altman's film "A Wedding." But as its bad vibes accumulate, Cheerful Weather exhibits all the energy of a disgruntled wedding guest muttering complaints under his breath.
  17. If Mr. Tippet and Ms. Mims weren't such accomplished visual stylists, you might even think that the teenagers shot the documentary themselves, which explains both its appeal and its limitations.
  18. A diverting neo-noir, Deadfall brings to mind those dark, old-fashioned entertainments in rotation on Turner Classic Movies that suck you in with their genre machinery, sullen beauties and despair.
  19. Tchoupitoulas does explore the border between innocence and experience. It is alive with the risk and curiosity of youth, and unapologetic in insisting that the pursuit of fun can be a profound and transformative experience.
  20. Roosevelt was one of the towering figures of the 20th century, but he and his accomplishments scarcely register in this amorphous, bafflingly aimless movie. The story hinges, increasingly to its detriment, on Daisy, a distant cousin to Roosevelt and his wife, Eleanor.
  21. Sometimes the movie swerves toward farce, sometimes into the zone of smiley family comedy and at other times into full-on weepiness. None of it is especially credible or engaging.
  22. It may hit all-too-familiar notes, but its sureness of tone makes Mr. Schweighöfer a talent to watch.
  23. It comes as no surprise that the director, Tristan Loraine, comes from a background as an airline captain and a documentarian. Perhaps those jobs make best use of his skills.
  24. An exuberant if creaky Filipino musical that never lets story get in the way of its songs.
  25. It's very much a Hindi film, but updated and delivered with conviction and style.
  26. There's an authenticity to Drivers Wanted that seems so true and tough that it overwhelms any standard immigrants-up-from-their-bootstraps theme.
  27. He might as well be describing the act of watching this grating round robin of connubial dysfunction and romantic disappointment.
  28. This brisk reimagining of the 1984 slasher "Silent Night, Deadly Night" delivers the seasonal goods with admirable efficiency and not a little wit.
  29. New Jerusalem feeling like an acting exercise in search of a theater class.
  30. It's more about adolescent attitudes than the thrust of a story, yet the film's sexual intelligence is undone by a paralyzing voice-over and an encroaching case of the blahs.

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