The New York Times' Scores

For 20,278 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:
20278 movie reviews
  1. It is not without tender or enjoyable moments — that’s the beauty of a formula — but there’s a tonal imbalance of comedy and drama. The two constantly deflate each other.
  2. The keen affinity the actor David Oyelowo has for his fellow performers is the best thing about The Water Man.
  3. Sean Penn’s work in Haiti after its devastating 2011 earthquake continues to this day. And this new documentary Citizen Penn is a revealing, engaging chronicle of the actor’s activism.
  4. Bao’s lighthearted, refreshing approach neither succumbs to whitewashing nor the model-minority myth. The film sticks to the action-comedy basics, which is just fine.
  5. As a director, Lewis is admirably present. She seems to have gained the trust of her interview subjects, and has taken care to create a space for openness.
  6. If Burnette’s formal instincts are suboptimal — the pervasive backlighting and underlighting keep much of the action in shadow — his dramatic instincts are worse.
  7. In absence of a bold visual style, the performers are tasked with providing the movie with its energy.
  8. The Columnist doesn’t seem to care about making a cogent statement about feminist revenge or online culture. Perhaps it just needed an excuse to carry out its bloody high jinks, which are decent fun in their own right.
  9. Tender and exuberant, it includes set pieces modeled on “Footloose” and “Grease,” and feels closer to those films in spirit than to the Disney Channel. This is the kind of movie that vibrates with the energy of the people who made it, whose enthusiasm radiates from the screen.
  10. The film, which was written and directed by Casimir Nozkowski, sets an easy pace to match Charles’s mild ennui. The only problem is that the movie doesn’t supplement its lack of stakes with style or substance.
  11. Reinhold exerts a Svengali-like hold on Franz and the women they know, though the character’s questionable magnetism makes this dynamic increasingly baffling.
  12. It’s not just the title character who fails to thrive. The filmmaking is on occasion, to put it kindly, fractured.
  13. An unfortunate, unfunny mess.
  14. The numerous action set pieces would be memorable even if the plot points didn’t eventually fall into place, which they do.
  15. As a relationship movie, not just for the pair but those around them, Four Good Days is more complex than its outward trappings and preachier scenes — like an anguished Molly addressing a high school class — suggest.
  16. Sentimental and a little corny in parts, “Percy” is protected from bathos by Walken’s proudly minimalist performance as an intensely private man reluctantly drawn into an uncomfortably public fight.
  17. Limbo, written and directed by a ferociously talented filmmaker, Ben Sharrock, takes an insinuating, poetic and often wryly funny approach. And it’s both heartbreaking and heartlifting.
  18. The Mitchells vs. the Machines not only has laughably eccentric characters but also a script packed with bonkers, fast-paced action — with elaborate, wild visuals to match.
  19. Jordan makes a sturdy enough action hero, but the character as portrayed doesn’t give him any contours to play.
  20. By turns alarming and poignant, Alex Parkinson’s infuriatingly deferential film recounts how Carter — passionately attached to Lucy and admittedly clueless about how to facilitate her adjustment — abandoned her life to live with Lucy on a remote island. Her devotion is extraordinary, but her obliviousness is shocking.
  21. Each shot is a kind of sight gag, a visual and philosophical joke with absurdity in the setup and sorrow in the punchline. But this time, more of the jokes are one-liners, in which the premise and the payoff are one and the same.
  22. Rather than interweaving domestic drama, supernatural mumbo-jumbo and campus naughtiness, Pulcini and Berman lurch from one scene to the next, squandering scares and undermining the momentum of the story.
  23. Though thin on story, the film (streaming on Mubi) is a majestic vision. But most captivating are the settings.
  24. Though the movie’s aesthetics are tepidly pleasant, Bellott’s biggest success is freeing his film’s relationship to time. In this sense, the movie retains some of the vitality of theater, where the characters invite the audience into reverie.
  25. Wise viewers will not be expecting an action movie, but The Marijuana Conspiracy is worse than inert: It’s shallow and tone-deaf. Attempts to highlight the sexism and discrimination of the time are either embarrassingly awkward or troublingly facile.
  26. The unfocused editing somewhat defangs the film’s urgency, but it does give a sense of the scale of the issue and the corporate greed that fuels overconsumption.
  27. The film, written by Oberli and Cooky Ziesche, satirizes class divides and xenophobia (“the Pole” constantly carries a derogatory connotation here), but never takes the satire far enough to be memorable, challenging or anything beyond whimsical.
  28. While the carnage demonstrates some imagination (can ice cauterize wounds? Did a hat just turn into a table saw?), the rules, extending even to whether death is permanent, are so arbitrary that nothing matters. Test … your patience.
  29. Even those resistant to easy nostalgia will find plenty to think about.
  30. The filmmaker has what seems like a torrent of anecdotes and attendant ideas to impart, but the movie never feels rushed.

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