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 movie filmed with nonactors, doesn't try to counteract stereotypes of the Roma people as shiftless, thieving hustlers. But it goes a long way toward explaining the antisocial behavior.
  2. This movie is a blast of sheer, improbable joy, a boisterous, thrilling action movie with a protagonist who can hold her own alongside Katniss Everdeen, Princess Merida and the other brave young heroines of 2012.
  3. Relaxed performances and pillow-soft photography compensate somewhat for the story's narrow ambitions, but they're not enough to invigorate a movie that clearly would rather charm than challenge.
  4. Blessed with natural performances and brisk pacing, this unusual little movie would like us to know just one thing: Passion is fine, but a pal is priceless.
  5. This one is for Hank Williams fanatics only, and Mr. Thomas puts a dark and subtle sheen on a disappointingly watery script. Cover versions of Williams's songs - several sung by his daughter, Jett - remind us why he mattered, even as the movie fails to do the same.
  6. Extremely likable and has value as a historical document specifically because it includes snippets from a dozen later-life interviews with Photo League members like Rosalie Gwathmey and Mr. Engel.
  7. After a sharp and promising start, she (Ms. Scafaria) allows the movie to collapse into a mild, lump-in-the-throat romantic comedy that is not made significantly more urgent or interesting by the prospect of global calamity.
  8. This means that the violations chronicled in The Invisible War are compounded by a deep and terrible betrayal, which ripples outward from the various branches of the service into the society as a whole. This is not a movie that can be ignored.
  9. One of the most delightful things about To Rome With Love is how casually it blends the plausible and the surreal, and how unabashedly it revels in pure silliness.
  10. Abraham Lincoln: Vampire Hunter is such a smashing title it's too bad someone had to spoil things by making a movie to go with it.
  11. The tussling between Elinor and Merida is familiar, but while the mother-daughter clashes may make the story "relatable," they drain it of its mythopoetic potential, turning what could have been a cool postmodern fairy tale into another family melodrama.
  12. A goal of this practical program of discipline and reflection is to cultivate an inner guru so that you don't need someone like Kumaré.
  13. A powerful portrait of working-class Istanbul that artfully suggests a wellspring of found moments. Quietly, steadily, it gathers a resonance belying its slice-of-life scale.
  14. Veering from ridiculous to revolting, The Tortured would like to be about more than singed nipples and seared skin. And it is: It's also about cracked toes and lanced eardrums.
  15. Narrating as he goes, his humor as warm and dry as the ground beneath his feet, Mr. Soling is an unconventional explorer whose interactions with the long-suffering Ik - the women quiet and watchful, the men seamed and talkative - are politely deferential. He's clearly not there to engage in scientific study; he's simply reaching out across continents on a hunch that even eminent scientists can get it wrong.
  16. This is a film that does sweat the technique, with at times illuminating and spirited results.
  17. Alien invasion is just an excuse for romantic farce in Extraterrestrial, a tiresome roundelay of lies, lust and leaping paranoia.
  18. Patang ("The Kite"), Prashant Bhargava's first feature, has a lovely, unforced quality. That's because Mr. Bhargava lets his story, set during the annual kite festival in Ahmedabad, India, tell itself, unfolding slowly as he follows filmmaking's most basic and most sinned-against dictum: Show, don't tell.
  19. Although Mr. Pawlikowski often shows Mr. Hawke in medium and long shots, the actor draws you close. There's anguish in Tom's face that speaks of a terrible fragility and that leavens the story's mysterioso proceedings with a real, recognizable humanity.
  20. That's My Boy is a pretty wretched movie if you want to activate your brain cells, but its busily plotted second half approaches involving.
  21. Far from imposing clarity on the historic gatherings, Tahrir embraces the thrill and uncertainty of popular action. In some ways resembling old-fashioned vérité, Stefano Savona's chronicle aims to plunge you into the crowds and clamor.
  22. Though not explicitly autobiographical, this film is deeply personal, and while the nature of cinema is very much on its mind, it rarely feels insular or self-conscious. Instead, it is wistful and nostalgic, and at the same time full of restless curiosity.
  23. The film's late swerves into melodrama and the neighboring region of farce feel panicky and pandering. The subtlety of the performances - Ms. DeWitt's in particular - is sacrificed for easy laughs, shallow tears and a coy trick ending. Just when it was starting to get interesting.
  24. It looks like Disneyland and sounds, well, like a bad Broadway musical, with all the power belting and jazz-hand choreography that implies.
  25. Natalia Almada's eloquent documentary portrait of a sprawling graveyard in Culiacán, Mexico, in the northwestern state of Sinaloa. The rapidly expanding cemetery has become the burial ground of choice for the country's slain drug lords.
  26. Three-Headed Bird Village - the setting for Xiaolu Guo's stingingly funny satire, UFO in Her Eyes - is a quiet agricultural hamlet in the Guangxi province of southern China that is uprooted by instant globalization.
  27. Like many other recent documentaries about artists, it is more celebratory than analytical, a kind of slick, extended promotional video for its subject.
  28. Ridiculous and undeniable, it's a punchy cartoon, rightly confident of its power to entertain. Why resist?
  29. A beautifully filmed and patiently explained assessment of a proposal to build five hydroelectric dams in the Patagonia region of Chile.
  30. Creepy, silly, startling, irritating, and black-vomit-and-multicolored-urine disgusting, The Oregonian wears out its welcome within 30 minutes.

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