The New York Times' Scores

For 20,269 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:
20269 movie reviews
  1. An actor before he was a screenwriter, Mr. Sheridan clearly spent a lot of his time learning about filmmaking on movie sets; his direction is assured throughout.
  2. The existence of a debut as confident and allusive as Columbus is almost as improbable as the existence of Columbus, Ind., where the movie is set.
    • 65 Metascore
    • 70 Critic Score
    In the end, “Water and Sugar” proves the best view of Di Palma is still the gaze from his own eyes.
  3. While zine-style animated sequences and VHS taped interviews enliven the pace, the documentary is burdened by too much minutiae. Not every scar earned at a concert deserves to be immortalized in a documentary.
  4. It’s easy to fall in love with the animals in Sled Dogs. It’s thornier to sift through the words of the handlers and mushers — many of whom seem to genuinely care for the dogs — and determine how pervasive abuse is in dog-sledding ventures.
  5. As well meaning as this movie is, it is also a turgid, muddled one.
  6. A surplus of wisdom and benevolence radiates from The Last Dalai Lama?.
  7. The story is not without interest, and it touches on a couple of worthwhile themes: cultural erasure and the way religious and provincial prejudices can suppress love. But its treatment of these subjects is perhaps undercut by its conventionality.
  8. Ms. Cotillard can be magnetic even when playing an unplayable character, but when Gabrielle falls for a veteran (Louis Garrel, who has perfected the facial expression of someone looking for another conversation), the chasm between her abilities and her co-star’s is mountainous.
  9. In a summer movie landscape with Spider-Man, a simian army waging further battle for the planet and Charlize Theron as a sexy Cold War-era superspy, it says something that one of the most compelling characters is Al Gore.
  10. Most of the movie’s pleasures come from Ms. Kull, a better actress than the one she plays, and the convolutions of the plot, which has a few good feints and dodges.
  11. For sure, this funny and tender film prompts cheerful smiles, but sometimes they turn melancholy.
  12. A case of excellent actors’ straining to elevate a contrived screenplay.
  13. While Mr. Defa’s dialogue mostly flows naturally from Mr. Coopersmith, it can seem too self-aware and precious in the other characters’ mouths.
  14. Mr. Mooney, currently cutting it up on “Saturday Night Live,” manages the twists and tonal fluctuations in Brigsby Bear beautifully.
  15. To add to the pain and despair of the experience, The Emoji Movie is preceded by a short, “Puppy,” featuring the characters from the “Hotel Transylvania” animated movies. It is also idiotic.
  16. As she does, Ms. Theron locks down your attention immediately, holding you with her beauty and quiet vigilance.
  17. The film’s struggle against simplification — against the sentimentality, wishful thinking and outright denial that defines most Hollywood considerations of America’s racial past — is palpable, almost heroic, even if it is not always successful.
  18. The humor is dry and the acting deadpan in Women Who Kill, a comedy that plays it droll and is all the funnier for it.
  19. Mr. Fancher’s movie love and way of spinning a yarn to its near-breaking point — one detour opens onto another — dovetail nicely with the cinephilia and playfulness that characterize Mr. Almereyda’s movies.
  20. If you couldn’t name two Native American musicians at the beginning of the documentary, you’ll remember at least a half-dozen after the end. And it’s a good bet you’ll be searching for their albums, too.
  21. The portraits drawn of these young people frequently feel half-finished.
  22. Although produced independently, this documentary, directed by Kirk Simon, plays as if the Pulitzers were presenting an award to themselves.
  23. Because it is a French film, or rather the kind of French film that wants to serve its sentimentality with a dollop of prestige, The Midwife doesn’t offer an entirely shameless version of the “dying free spirit imbues uptight caretaker with a new lust for life” scenario.
  24. For all the profanity and naughty behavior, it has the timid, ingratiating vibe of a television sitcom, sticking to safe and familiar emotional territory.
  25. Certainly, the senselessness of bloodshed may be Mr. Power’s point. But with this setup, such a message is all but muted.
  26. Ms. Covi and Mr. Frimmel’s Mister Universo is a disarming and humane picture, an unexpected delight.
  27. Mr. Escalante is an exceptionally deft and subtle realist, and you sometimes feel, in “Heli” and even more so in The Untamed that he is drawn to extremity partly out of boredom with his own skill.
  28. Even seasoned defenders of cryptic formalism may find it amorphous. The characters are never named, the camera work is static, and little that’s conceptually interesting materializes.
  29. The result is a dazzlingly imaginative movie about survival.

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