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. It’s a study of courageous innovation against an entrenched medical orthodoxy.
  2. [A] taut and commanding primer.
  3. Like flipping through misplaced leaves in a photo book, the documentary maintains a free-flowing tone as it uncovers the work that went into creating some of the indelible scenes in Hollywood history.
  4. Mr. Bezmozgis creates a disturbing portrait of a girl turned calculating and nihilistic by her upbringing, and there is no coyness here.
  5. The movie dives into the black arts with methodical restraint and escalating unease.
  6. Dreary, derivative and flat-out dopey, this dragged-out torture tale will disappoint even those whose hearts race whenever they see a female character strapped to a bed.
  7. If you love the music Berns made, you’ll love this movie; if you don’t, I feel for you, but “Bang!” might nevertheless entertain with its dish.
    • 72 Metascore
    • 80 Critic Score
    It is modest, observant, graceful and nonchalantly witty.
  8. At its most enjoyable, Valerio Ruiz’s rambling profile cedes the floor to Ms. Wertmüller, who recalls her creative partnership with her husband, the production designer Enrico Job, and her cultural importance in representing Italy’s south onscreen.
  9. Teeming with acts both heroic and reprehensible, John Ridley’s wrenchingly humane documentary, Let It Fall: Los Angeles 1982-1992, reveals the Los Angeles riots as the almost inevitable culmination of a decade of heightening racial tensions.
  10. Here’s what sounds like one dud job: calculating bird populations in Antarctica. But here’s what that work has inspired: one swell documentary.
  11. As it turns out, modes of farce and fantasy enable Mr. Dumont to pull the rug out from under the viewer in a number of new and upsetting ways. Be prepared.
  12. The Happiest Day in the Life of Olli Maki deepens quietly. This is Mr. Kuosmanen’s first feature (he has directed a few shorts), and if he had any rookie jitters you wouldn’t know it.
  13. Here, both the director (Denise Di Novi) and the writer (Christina Hodson) are women, yet that doesn’t translate into a reimagining of the tired formula.
  14. Free Fire is an action movie finely tuned to even the most potentially vicious audiences’ tolerances. It is filled with mayhem, but avoids grisly violence — at least until the finale pulls out some gory, and not inapt, punch lines. Luxuriating in disreputability in all the right ways, the film also contains no shortage of profane verbal wit.
  15. Weighed down by the worthiness of its intentions, The Promise is a big, barren wartime romance that approaches the Armenian genocide with too much calculation and not nearly enough heat.
  16. It’s refreshing to see concrete solutions at work, many of them at the grass-roots level. And the optimism of those countering ineffective politicians and big business is infectious.
  17. Throughout, the solitary Mr. Tower maintains an unflappable refinement, dedicated, a college friend says, to “looking for some utopian possibility of living, because that’s what kept the darkness away.”
  18. Only intermittently stimulating.
  19. The narrative, read by John Krasinski, is kid-friendly in a cloying sort of way, and unpleasant realities like China’s pollution are not mentioned. So as an introduction for children to exotic creatures in picturesque landscapes, the movie is harmless enough.
  20. By the Time It Gets Dark has clearly been thought through, but it’s so cryptic that it cries out for, if not perfect explanations, perhaps footnotes. It’s so conceptual that it offers little for those not in sync.
  21. The art is the star and Ms. Axelrod features plenty of it. She also outlines a knowing path through Mr. Cattelan’s career, leaving just enough room to have you wondering if the artist is more of a con man than a genius.
  22. The barbarity described in Finding Oscar is stomach-turning, but moments of courage still shine through in this unsettling yet vital documentary.
  23. It’s less that Mr. Cedar blends realism with absurdity than that he refuses to acknowledge any distinction between them.
  24. Mr. Davies, whose work often blends public history and private memory, possesses a poetic sensibility perfectly suited to his subject and a deep, idiosyncratic intuition about what might have made her tick.
  25. At best ambiguous and at worst unfathomable, Mimosas, the sophomore feature from the Spanish director Oliver Laxe, merges harsh reality and offbeat mysticism into a reflection on the tug between our higher powers and baser instincts.
  26. An eccentric and lively animated fantasy.
  27. The performances are desultory, the musical score bullying and the drama — aside from the game-changing placement of inconvenient shrubbery — as predictable as Tom senior’s steadily sprouting beard.
  28. For all its visual and sonic pleasures — see it in a theater with a good subwoofer — All These Sleepless Nights feels simple-minded in its commitment to drift above all else.
  29. While the recordings are wall-to-wall, this somewhat busy documentary rarely accords time for simply listening.

Top Trailers