The New York Times' Scores

For 20,304 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:
20304 movie reviews
  1. Mr. Marie, making his debut as a director, swathes their tale in a thick coat of style that teeters between cool and mannered.
  2. The battle scenes are as lacking in heat and coherence as the central love story.
  3. By the time the long, throbbing concert finale begins, there is no doubt that Mr. Brown’s intensity has not faded over the years and that the Stone Roses’ breakup was a serious loss.
  4. Mr. Romero, manifesting a self-effacing demeanor and sensible humanity, is a most agreeable raconteur.
  5. While this unrelentingly midtempo movie milks Brooklyn for its chic, it manages to denude it of its color.
  6. All the film’s segments are smartly assembled and gracefully paced.
  7. The first half of Behind the Blue Veil makes a case for the noble cause of preserving a way of life; the second half admits its near-futility.
  8. In the end, the filmmaker’s message is nearly lost in this poorly constructed film.
  9. Mr. Zizek’s daisy-chained improvisations amount to an argument on behalf of complexity and unseen depths, and, like much academic writing, it risks monotony and becoming as reductive as it can be seductive.
  10. This heart-wrenching and deceptively conventional documentary manages the tensions in its subject and in the vérité approach in a fruitful, illuminating and surprisingly moving way.
  11. This dull, dawdling film, adapted from Françoise Dorner’s novel “La Douceur Assassine,” eventually succumbs to sentimentality.
  12. The fight is the thing in Man of Tai Chi, Keanu Reeves’s down-and-dirty and generally diverting directing debut.
  13. Free Birds is likely to leave audiences fuzzy-headed and vaguely nauseated instead of nourished and satisfied.
  14. Delivers its Holocaust-related story with the clunking force of a blunt instrument slammed into the skull.
  15. Filmed without a trace of sentimentality, Big Sur is an achingly sad last hurrah.
  16. [A] touching love story and soggy family melodrama.
  17. If you approach Last Vegas expecting an emotionally engaging, in any way surprising, moviegoing experience, you will be disappointed. But if you want the equivalent of an old-fashioned television variety show — a Very Special Evening with Robert De Niro, Morgan Freeman, Michael Douglas and Kevin Kline — you might not have such a bad time.
  18. Anchored by Ms. Watts’s sympathetic performance, it humanizes the woman behind the smile, the helmet hair and the myth.
  19. The sibling directors Lisa and Rob Fruchtman have made a nuanced and deftly edited film about a complex issue.
  20. A flimsy bit of mildly romantic, putatively comic Anglophile bait.
  21. 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.
  22. Merging the sustainability worries of guitar enthusiasts and environmentalists with the hard-cash concerns of logging corporations and Native American land developers, Maxine Trump’s thoughtful documentary wrests clarity from complexity.
  23. One of those projects whose very existence should baffle anyone hardy enough to endure all 94 minutes.
  24. The filmmakers record the flash of youth’s headlong energies, its bumps and bruises, and its melancholies and brilliant chaos.
  25. Mr. Butterfield is one of those young performers whose seriousness feels as if it sprang from deep within. And while he’s an appealing presence, little Ender can’t help feeling like a pint-size psycho.
  26. Golden Slumbers has a tendency to wallow in its romanticism, not to the point of trivializing its history, but definitely dropping off into somnolence.
  27. Encouraging sensitive performances that mitigate the film’s sluggish pace and fuzzy narrative, Ms. Szumowska juxtaposes two-person scenes of wordless intimacy with group expressions of casual violence.
  28. Ms. Jaye uses sound, composition and careful patience to create a contemplative mood of memory, loss and magic. With limited resources and the power of storytelling, she has created a small film that feels mainstream and epic.
  29. It’s like a cheap, dry cake covered with a thick layer of frosting. But even bad cake can be enjoyable, especially if celebrating something as worthwhile as these elders, their long lives and their continued gutsiness so late in the game.
  30. Its indictment of capitalism is so shrill and one-note that it may just as easily set off fits of giggling, because its characters are so ridiculously evil.

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