For 20,311 reviews, this publication has graded:
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46% higher than the average critic
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5% same as the average critic
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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: | Short Cuts | |
|---|---|---|
| Lowest review score: | Gummo |
Score distribution:
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Positive: 9,399 out of 20311
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Mixed: 8,446 out of 20311
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Negative: 2,466 out of 20311
20311
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Stephen Holden
If Mr. Neil had the tonal mastery of Wes Anderson, Goats could have been so much more than an episodic sequence of whimsical little psychodramas.- The New York Times
- Posted Aug 9, 2012
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Reviewed by
Nicolas Rapold
Almayer's Folly is not friendly terrain to traverse; like some sinister version of Proust, it is a prolonged fever dream that ultimately yields madness.- The New York Times
- Posted Aug 9, 2012
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Reviewed by
A.O. Scott
The film, which is about a chaotic 48 hours in Marion's life, succumbs to the chaos it depicts, and so undermines its best intentions. It is, all in all, a likable mess.- The New York Times
- Posted Aug 9, 2012
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Reviewed by
Stephen Holden
Spike Lee's messy, meandering, bluntly polemical Red Hook Summer has one crucial ingredient: a raw vitality.- The New York Times
- Posted Aug 9, 2012
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Reviewed by
A.O. Scott
Too soft and silly to be satire, too upbeat to be a cautionary tale, the film is a fun-house fable that both exaggerates and understates the absurdities of our democracy in this contentious election year.- The New York Times
- Posted Aug 9, 2012
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Reviewed by
Manohla Dargis
By the time Rachel Weisz, as a scientist called Dr. Marta Shearing, showed up in a lab coat, I stopped trying to parse every plot twist and just went with the action flow.- The New York Times
- Posted Aug 9, 2012
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Reviewed by
Manohla Dargis
The movie is an awkward cross between a domestic comedy and a marital tragedy that's laced with laughs, soggy with tears and burdened by a booming, blunt soundtrack that amplifies every narrative beat.- The New York Times
- Posted Aug 8, 2012
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Reviewed by
Manohla Dargis
Why the sisters felt that prostitution was their best alternative remains unclear, either because they aren't interested in revealing that part of themselves, or the filmmakers didn't know how to get them to talk. Or maybe Ms. Provaas and Mr. Schroder weren't interested, for political or personal reasons, in making what, despite the laughter, they ended up with: another sad story about whores.- The New York Times
- Posted Aug 7, 2012
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Reviewed by
Neil Genzlinger
Only a couple of times do the stunts have that extra ingredient - wit - that makes this kind of thing amusing to watch.- The New York Times
- Posted Aug 7, 2012
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Reviewed by
Andy Webster
For the cast, shooting the movie (in Ukraine) may have been a working vacation, but for viewers, watching it is an excruciating sentence of hard labor.- The New York Times
- Posted Aug 7, 2012
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Reviewed by
Rachel Saltz
As storytelling, "The Global Catch" often falls short. It has too much to cover to be comprehensive and can seem a bit random. As a consciousness raiser, the film fares much better.- The New York Times
- Posted Aug 2, 2012
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Reviewed by
Jeannette Catsoulis
For the thickheaded thriller Assassin's Bullet the Bulgarian actress Elika Portnoy dreamed up a story with three roles for herself and fails to convince in any of them.- The New York Times
- Posted Aug 2, 2012
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Reviewed by
Nicolas Rapold
This friendly, colorful documentary from Pip Chodorov is not the last word on all the shapes, sizes and languages of experimental film, but rather an introduction brightened by a companionable enthusiasm and an apposite sense of community.- The New York Times
- Posted Aug 2, 2012
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Reviewed by
Stephen Holden
For all its subtext about identity and London's social fabric, Dreams of a Life leaves too many blanks and is ultimately more frustrating than rewarding.- The New York Times
- Posted Aug 2, 2012
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Reviewed by
Stephen Holden
Ms. Pineda and Ms. Troncoso give wonderfully natural performances in which they convey the impulsiveness and insecurity of adolescence. You are uncomfortably reminded of what it feels like to be 15.- The New York Times
- Posted Aug 2, 2012
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Reviewed by
Neil Genzlinger
Delivered with sloppy, gleeful confidence, the movie is smarter than most gross-out comedies but isn't afraid to inspire an "Ewww."- The New York Times
- Posted Aug 2, 2012
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Reviewed by
Manohla Dargis
There's no way to know what went wrong with 360 and whether it was this uninvolving and shallow from the start.- The New York Times
- Posted Aug 2, 2012
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Reviewed by
Neil Genzlinger
The film is more a patched-together collection of anecdotes than a coherent story, and some of Greg's tribulations, like fear over a high dive and an amusement-park ride, don't seem age-appropriate for a boy who has just finished seventh grade.- The New York Times
- Posted Aug 2, 2012
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Reviewed by
Stephen Holden
Mr. Trump comes across as an insensitive, lying bully who will do whatever it takes to realize his dream of creating what he promises will be the world's greatest golf resort.- The New York Times
- Posted Aug 2, 2012
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Reviewed by
Manohla Dargis
While Celeste and Jesse is decidedly conventional in most respects, it's pretty swell as an exploration of a relationship between a man and a woman that's no longer predicated by mutual desire.- The New York Times
- Posted Aug 2, 2012
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Reviewed by
A.O. Scott
This premise contains the seeds of an interesting economic and political allegory, but the ambitions of the filmmakers - lie in the direction of maximum noise and minimum sense.- The New York Times
- Posted Aug 2, 2012
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Reviewed by
Andy Webster
Burning Man benefits from the highly watchable Mr. Goode and able players like Rachel Griffiths and Kerry Fox.- The New York Times
- Posted Jul 30, 2012
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Reviewed by
Jeannette Catsoulis
Documenting the vigorous strategies employed by the Dole Food Company to block the release of his 2009 film "Bananas!" - about a lawsuit brought by Nicaraguan workers who suspected the company's use of dangerous pesticides - the Swedish filmmaker Fredrik Gertten gains traction by taking the high road.- The New York Times
- Posted Jul 26, 2012
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Reviewed by
Andy Webster
The cinematographer, Carl Herse, knows his way around genre staples like claustrophobic cornfields, animal carcasses, porcelain-doll heads, voyeur perspectives, decrepit interiors and, of course, the time-honored serial-killer wall, with thumbtacked clippings and photographs about old murders. Nevertheless, Rites of Spring yields a slender bounty.- The New York Times
- Posted Jul 26, 2012
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Reviewed by
Jeannette Catsoulis
It's tough to care about characters who spend most of their lives obsessing over the violent deaths of others.- The New York Times
- Posted Jul 26, 2012
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Reviewed by
Jeannette Catsoulis
The film's sweetness is endearing but too featherweight to engage.- The New York Times
- Posted Jul 26, 2012
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Reviewed by
Neil Genzlinger
The film, directed by Mikkel Norgaard, somehow manages the difficult trick of going into taboo territory without ever feeling dirty. And Mr. Hvam has a knack for misdirection. Just when you're wanting to give his character a hug and forgive all, off he goes into even more inappropriate behavior.- The New York Times
- Posted Jul 26, 2012
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Reviewed by
Neil Genzlinger
Alas, the dancers have to stop sometimes to allow the utterly unoriginal story to be told, and the romance at the center of it inspired Amanda Brody, the screenwriter, to produce dialogue so cheesy as to be laughable.- The New York Times
- Posted Jul 26, 2012
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Reviewed by
Stephen Holden
The movie builds to a human-versus-alien showdown so sloppily staged that it makes little visual sense. The bargain-basement pyrotechnics suggest that much of The Watch was filmed on autopilot on a strict budget.- The New York Times
- Posted Jul 26, 2012
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Reviewed by
Stephen Holden
Their eloquent monologues, interspersed with vicious verbal skirmishes, are artfully constructed, occasionally poetic expressions of pain, delivered in well-formed sentences that suggest the movie might have originated as a two-person stage drama.- The New York Times
- Posted Jul 26, 2012
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