The New York Times' Scores

For 20,280 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:
20280 movie reviews
  1. Even as it properly foregrounds Wilson’s dialogue — few playwrights have approached his genius for turning workaday vernacular into poetry — Fences is much more than a filmed reading. Mr. Washington has wisely resisted the temptation to force a lot of unnecessary cinema on the play.
  2. It’s less that Mr. Cedar blends realism with absurdity than that he refuses to acknowledge any distinction between them.
  3. It is the film’s cosmic dimension that makes it so special.
  4. 20th Century Women is a memory movie, one in which people are conjured up to bump against the larger world, exuberantly and uneasily.
  5. The directors, Brian McGinn and Rod Blackhurst, have produced a tightly edited, coherently structured and ultimately moving reassessment that burrows beneath the lurid in search of the illuminating.
  6. It’s the rare page-to-screen adaptation in which the camera becomes an essential character. The action often unfolds in long shot, with crowded compositions in which the principals are obscured by door frames. Over time, the withholding of conventional editing patterns and the sensitization to subtle changes in camera placement become an analogue for Emanuel’s entrapment.
  7. [A] fascinating and assured documentary.
  8. The film has the requisite surface fidelity.... But it also has moments of lightness and strangeness, as well as kinks and sour notes, which strengthen the sense that these are people, not figurines in a dutiful, paint-by-numbers biopic.
  9. Prevenge is a brilliantly conceived meditation on prepartum anxiety and extreme grief.
  10. Its images and scenes are suffused by an intensity that seems almost to be a quality of the light and air as they play across Ms. Chemla’s watchful, sometimes inscrutable features.
  11. It’s very fresh and often very funny stuff, communicated in a direct, unforced style.
  12. Will fluffy, poodlelike chickens replace cats on the internet? Maybe not, but these chicken people, with deep connections to their birds, make for a fun and at times astonishing film.
  13. The bohemian paradise of this environment had a dark side, and the movie doesn’t give it short shrift. Nevertheless, a genuine exhilaration holds throughout.
  14. Part of what makes Get Out both exciting and genuinely unsettling is how real life keeps asserting itself, scene after scene.
  15. Network can be faulted both for going too far and not far enough, but it's also something that very few commercial films are these days. It's alive. This, I suspect, is the Lumet drive. It's also the wit of performers like Mr. Finch, Mr. Holden, and Miss Dunaway.
  16. This is a potent, vital film.
  17. Hong’s formal confidence yields a movie that’s very simply constructed and utterly engrossing.
  18. The substantial pleasures of the movie are supplemented by the gratification of seeing an emerging talent with concerns far outside the conventional indie realm asserting himself with such authority.
  19. Always Shine is a deft, assured movie with a sly self-reflexive undercurrent containing commentary on sexism and self-idealization that’s provocative, and sometimes disturbing.
  20. Behemoth proceeds placidly, making it easy to become lulled. Its haunting power grows in retrospect — as if you’ve returned from a journey and can’t believe what you’ve seen.
  21. Ms. Story’s unconventional approach provokes responses that a traditional facts-and-figures discussion might not. Yet the film’s formal abstraction, far from creating emotional distance, is unexpectedly moving.
  22. It goes beyond the impartiality of journalism. It has the manner of an official report on the spiritual state of a civilization for which there is no hope.
  23. There’s a whole lot of everything in the Mission: Impossible — Fallout, an entertainment machine par excellence that skitters around the world and has something to do with nuclear bombs, mysterious threats and dangerous beauties. Mostly, it has to do with that hyper-human Tom Cruise, who runs, drives, dives, shoots, flies, falls and repeatedly teeters on the edge of disaster, clinging to one after another cliffhanger.
  24. This latest and fourth version is a gorgeous heartbreaker (bring tissues). Like its finest antecedents, it wrings tears from its romance and thrills from a steadfast belief in old-fashioned, big-feeling cinema. That it’s also a perverse fantasy about men, women, love and sacrifice makes it all the better.
  25. Ms. Smith does not fit easily into any box, and neither does this thought-provoking film.
  26. This is a movie that drops quotations from Faulkner and Einstein, but it rarely feels pedantic or platitudinous, thanks to the breezy, assured delivery of Mr. Khan.
  27. Mr. Marcello tells a simple, touching tale that seems to contain a whole cosmos of meaning.
  28. Wonder is that rare thing, a family picture that moves and amuses while never overtly pandering.
  29. This restoration of German Concentration Camps Factual Survey is an extraordinary act of cinematic reclamation and historiography.
    • 62 Metascore
    • 90 Critic Score
    [A] riveting documentary.

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