For 20,278 reviews, this publication has graded:
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46% higher than the average critic
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5% same as the average critic
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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: | Short Cuts | |
|---|---|---|
| Lowest review score: | Gummo |
Score distribution:
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Positive: 9,380 out of 20278
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Mixed: 8,434 out of 20278
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Negative: 2,464 out of 20278
20278
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Manohla Dargis
Ashe’s story certainly has moments of great drama and high tension, but, as a sports figure, he inspired decidedly undramatic sobriquets like “the gentle warrior.” This documentary shows you a truer, sharper picture.- The New York Times
- Posted Dec 2, 2021
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Reviewed by
Lisa Kennedy
In widening its aperture — from the ascents to visits to Purja’s childhood home as well as brief dives into Nepal’s history — “14 Peaks” expands a genre often focused on the feats of individuals to celebrate lessons about vast dreams and communal bonds.- The New York Times
- Posted Dec 1, 2021
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Ben Kenigsberg
On limited terms — capturing the physicality of mountain climbing within the ethereal medium of animation — The Summit of the Gods is distinctive.- The New York Times
- Posted Dec 1, 2021
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Reviewed by
Manohla Dargis
The Power of the Dog builds tremendous force, gaining its momentum through the harmonious discord of its performances, the nervous rhythms of Jonny Greenwood’s score and the grandeur of its visuals.- The New York Times
- Posted Dec 1, 2021
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Devika Girish
At a time when the profession faces increasing dangers in India, the film’s faith in the powers of grassroots journalism is nothing short of galvanizing.- The New York Times
- Posted Nov 30, 2021
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Nicolas Rapold
The director, Eva Orner (“Chasing Asylum”), makes her contribution to documentaries on climate change by sticking to Australia and underlining the visceral impact on Australians. It’s hellish: red skies and dark days, fear and helplessness, pregnancy complications and death.- The New York Times
- Posted Nov 30, 2021
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Claire Shaffer
If your holiday dinner table sees some heated arguments this year, just be glad if it doesn’t result in an actual melee, with armed standoffs in front of a blow-up Santa Claus.- The New York Times
- Posted Nov 30, 2021
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Manohla Dargis
A shaggy, fitfully brilliant romp from Paul Thomas Anderson.- The New York Times
- Posted Nov 26, 2021
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Ben Kenigsberg
While the ethical issues of the property situation add complexity, the film’s efforts to balance the arguments on both sides aren’t convincing.- The New York Times
- Posted Nov 24, 2021
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Lisa Kennedy
Likeable stars with little frisson, Elwes and Shields are also saddled with a formulaic script.- The New York Times
- Posted Nov 24, 2021
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Natalia Winkelman
Magic abounds in A Boy Called Christmas, Netflix’s first prestige holiday movie of the season, but pulsing through this winning adventure tale is something even stronger: the immersive power of storytelling.- The New York Times
- Posted Nov 24, 2021
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Reviewed by
Calum Marsh
When it isn’t fawning over roller rinks, “Goonies” posters, and Casio watches, 8 Bit Christmas (streaming on HBO Max) is a warm and refreshingly earnest holiday comedy.- The New York Times
- Posted Nov 24, 2021
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Reviewed by
Jeannette Catsoulis
The confessions and tensions are commonplace, but The Humans is never less than high on the terrible power of the mundane.- The New York Times
- Posted Nov 24, 2021
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Reviewed by
Manohla Dargis
Hamaguchi’s touch — delicate, precise, restrained, gentle — overwhelms in increments. His reserve is essential to his visual and narrative approach but also feels like a worldview.- The New York Times
- Posted Nov 24, 2021
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Amy Nicholson
The only surprise is that Roberts shuns cheap jump scare surprises in favor of well-crafted suspense scenes that play out like a game of three card monte. There’s delight in cinematographer Maxime Alexandre and editor Dev Singh’s slow-building visual gags.- The New York Times
- Posted Nov 24, 2021
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Maya Phillips
The Madrigal family members belong even when they’re not conjuring roses or transforming the weather. And even with these fantastic feats of wizardry, the Madrigals, with all of their relatable family dynamics, are believably loving, funny and flawed.- The New York Times
- Posted Nov 23, 2021
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A.O. Scott
For all that abundance, something is missing. A lot of things, really, but mostly a strong idea and a credible reason for existing.- The New York Times
- Posted Nov 23, 2021
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Nicolas Rapold
Out of the fractured family documentary, what emerges finally is a drama of self-realization.- The New York Times
- Posted Nov 18, 2021
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Beatrice Loayza
This Is Not a War Story, which Lugacy also directed, is a naturalistic, chat-heavy narrative that captures the difficulties wrought by the unimaginable trauma individuals face as they attempt to forge connections and find peace after war.- The New York Times
- Posted Nov 18, 2021
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Natalia Winkelman
There is a contagious thrill to the movie’s portrait of its subject’s achievements, especially his whirlwind romance with the Israeli supermodel Tami Ben Ami. But when it comes to Perry’s moments of struggle, Aulcie trips up.- The New York Times
- Posted Nov 18, 2021
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Reviewed by
Concepción de León
Though Nestor’s understated performance is powerful at times, one leaves the film not fully satisfied, wanting for a stronger arc.- The New York Times
- Posted Nov 18, 2021
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Reviewed by
Manohla Dargis
C’mon C’mon is a nice movie about characters who are so nice that I almost feel bad for not being nicely disposed toward them or this movie, even with Joaquin Phoenix as the guy and Gaby Hoffmann as the sister.- The New York Times
- Posted Nov 18, 2021
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Reviewed by
A.O. Scott
This is a fundamentally — and I would say marvelously — old-fashioned entertainment, a sports drama that is also an appealing, socially alert story of perseverance and the up-by-the-bootstraps pursuit of excellence.- The New York Times
- Posted Nov 18, 2021
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Reviewed by
Lena Wilson
Andy Greskoviak’s script lampoons corporate apathy and retail-work ennui with the same swiftness as his voracious zombies. Unfortunately, Black Friday also tries to make viewers root for its characters, who are mostly delightful because they are such wildly mediocre people.- The New York Times
- Posted Nov 18, 2021
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Reviewed by
Ben Kenigsberg
To judge Greene’s experiment, not least because of its visible salutary effects, feels like intruding on private breakthroughs. But the discomfiting power of Procession comes from its ability to show and, to all appearances, facilitate them.- The New York Times
- Posted Nov 18, 2021
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Reviewed by
Lisa Kennedy
Without sacrificing comedic buoyancy, Malik and her ensemble make palpable a community that is vibrant and claustrophobic.- The New York Times
- Posted Nov 18, 2021
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Amy Nicholson
Miranda’s devotion to his idol keeps him from expanding the musical’s myopic fretting into a universal story of sacrifice and resolve. Garfield at least gives Larson an endearing vulnerability.- The New York Times
- Posted Nov 18, 2021
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Reviewed by
Teo Bugbee
The film succeeds in presenting an on-the-ground view of what it felt like to be inside a hospital in the spring of 2020. It was harrowing, death was everywhere and there was no end in sight.- The New York Times
- Posted Nov 18, 2021
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Reviewed by
A.O. Scott
Shooting in the summer of 2020, Jude and his team were clearly constrained by the realities of Covid-19, but they also succeeded in turning a bad situation to creative advantage, facing the awfulness and absurdity of the present with wit, indignation and a saving touch of tenderness.- The New York Times
- Posted Nov 18, 2021
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Reviewed by
Jeannette Catsoulis
Utterly baffling, yet never less than intriguing, Zeros and Ones lingers in the mind. Even after you think you’ve brushed it off, its chilly tendrils continue to cling.- The New York Times
- Posted Nov 18, 2021
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