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. Every “Oh wow” in Human Nature is matched by an “Oh no” somewhere down the line. Together, these two competing emotions — excitement and unease — make for one pretty fascinating documentary.
  2. The writer and director, Charlène Favier, had previous experience as a competitive skier, and she is attentive to the textures of mountainside sports and how abuse plays out in this setting.
  3. It's as tinny and tawny and terrific as any hot-cha musical film you'll ever see.
  4. What cuts through the filmmaking clutter are the young women and men who share their accounts of abuse by both their attackers and their schools.
  5. The main interest lies with Ferencz himself, who comes across as thoughtful, principled and engaging in a film that, in keeping with his demeanor, is a modest profile rather than a sprawling portrait.
  6. This film, Mr. Baumbach’s movie, mostly brings a light touch and a forgiving gloss to its own self-consciousness. It is not afraid to be implicated in the confusion — in the self-involvement, the anxiety, the pettiness — it depicts. But there are also areas where it feels soft and compromised, where the subtlety and clarity of Mr. Baumbach’s vision seem to desert him.
  7. Even as Yuasa’s approach changes from section to section — as he plays with texture, volume and hue and gently shifts the balance between the figurative and the abstract — his extraordinary touch remains evident in each line and in every eye-popping swirl.
  8. Urchin doesn’t break the mold, but it’s a confident, quietly affecting drama that strikes above the standard character study.
  9. Though it is modest, almost anecdotal, in scale, 12:08 East of Bucharest is also characterized by a precise and sneaky formal wit.
  10. The movie offers a revealing case study of the relationship between politics, celebrity and the media in today’s polarized social climate.
  11. A bit of patience is required to get through The Taste of Tea, but patience is often rewarded, and it certainly is by this droll and oddly touching film.
  12. This calm, hardheaded film never sacrifices its toughness for a swooning, misty-eyed moment of hope.
  13. When [Ms. Jones] bounds onstage with a holler and a howl — and diction that nails every last word to the melody — it’s clear she deserves that exclamation point in the title. Even if the movie around her sometimes struggles to do the same.
  14. The light is beautiful in Jockey, an enjoyable old-warrior movie with a surprising sting, even if the bones and story are creaky.
  15. A solidly old-fashioned courtroom drama such as The Verdict could have gotten by with a serious, measured performance from its leading man, or it could have worked well with a dazzling movie-star turn. The fact that Paul Newman delivers both makes a clever, suspenseful, entertaining movie even better.
  16. The movie gets lost in the gulf between standard, if illuminating, biography and roiling existential crisis.
  17. There is warmth and intelligence here, and undeniable sincerity, but also a determination, in the face of much painful and fascinating history, to play it safe.
  18. Gracey paints a fabulously entertaining and touching picture of an insecure, complicated man hauling himself from a quicksand of grasping fans, greedy impresarios, unresolved addictions and father-son dysfunction.
  19. Ms. Berg has created an unnerving, sometimes infuriating documentary. She makes smart choices throughout as she weaves together this chronicle of faith and abuse.
  20. Mr. Godard treads on dangerous ground by linking the historical suffering of Jews and the Palestinians, but his sympathy for both people is so manifest, his sense of history so deep, that the film defies reductive readings.
  21. The resultant mix of dreaminess, violence and politics is a bit unwieldy, but it sticks to your ribs. You'll savor pieces of Duck, You Sucker in your head much later: the mark of a work by a true voluptuary, the overspill in whose craft comes as much from enthusiasm as arrogance.
  22. In an era whose culture was defined by what the literary critic Richard Poirier called the performing self, Mr. Ali's persona was one of the greatest performances of all.
  23. Revisits the San Francisco of the late 1960's and early 70's, a time and place so encrusted with legend and cliché that you might wonder if there is anything left to say. It turns out there is quite a lot -- which the filmmakers have brought triumphantly to life.
  24. One of the most entertaining documentaries to appear since "Exit Through the Gift Shop," a film similarly obsessed with role playing and deception.
  25. Ms. Dorfman emerges as an artist of deep compassion, empathy, humor and wisdom.
  26. It’s too much yet not enough.
  27. Expressive visuals and evocative scenes, including one involving an overactive meerkat, make Left-Handed Girl a memorable family affair. It’s only when the film introduces one too many social realist tropes . . . that the melodrama grows unwieldy.
  28. The story pops and swerves; the images are by turns comical, banal and ravishing; and the result is a briskly shaken cocktail made of equal parts provocation and comfort. You come away with a buzz that is invigorating and pleasantly familiar.
  29. Arnow’s sophisticated point — the one referenced in the film’s unwieldy title — is what drives interest until our own spirits snap.
  30. What little we learn of Pascal, who has worked in Switzerland as a shepherd for more than 30 years, and Carole, who is a former dietitian, fits in a scene or two, but their practical journey yields a certain contemplative equanimity.

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