The New York Times' Scores

For 20,268 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 4.3 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:
20268 movie reviews
  1. The movie is funny and touching, with a star-making performance by Min and a script full of lovely, self-aware little touches . . . But it’s shot like a sitcom — flat, shiny, perfunctory — and structured like one, too, with quip-heavy vignettes that resolve in pat conclusions.
  2. The director having fun is the presiding feeling here — which may account for why the movie is so frequently amusing, and occasionally delightful.
  3. The ultimately sparse dramatic elements here feel more suited to a short film; in a feature-length production, they become too thin to support the big feelings and weighty themes the movie wants to leave us with.
  4. While it can occasionally seem as though Pohlad is eking out conflict to support a narrative, the film’s restraint ultimately works in its favor, offering a thoughtful meditation on music, creativity and what it really means for talent to be “overlooked.”
  5. The misery unfurls in a straight timeline of dramatic scenes that leap over the lived-in moments that make up a relationship.
  6. Simon’s belief in the interconnectedness yet singularity of the varied patients is palpable. She rewards our patience with a deeper understanding of our bodies and ourselves.
  7. A film unintentionally stuck in its own kind of adolescence, “Mutant Mayhem” has plenty of charms but tries so hard to be cool, funny and relevant — so totally online — that it forgets to kick back with a slice, some buds and just, you know, vibe.
  8. El Agua succeeds as a portrait of the village’s traditions, both manual and cultural, brought to life by a largely nonprofessional cast (including Pamies, a striking discovery).
  9. It’s not an easy task to make a movie out of a kids’ show from a bygone era, but the film does a relatively smooth job of dipping into — but not overdoing — the nostalgia and retaining the lighthearted, wacky tone that was the show’s signature.
  10. Most important, Daniella, Koko, Liyah and Dominique provide a record of their own extraordinary lives, one that resonates with clarity and compassion.
  11. The film’s gentle detours into the real-life stories remind us that it is the people met on the road that so often make the trip memorable.
  12. A stellar debut.
  13. Not all the material is equally striking, but the film has an original and at times disarming approach to bearing witness.
  14. [Simien] keeps things moving along, more or less, and the appealing cast hit their marks, but it’s dispiriting to see him directing what is effectively a feature-length Disney promotion. I hope it’s his last big-studio ad.
  15. The flashbacks are well-written and add off-the-court dramatic interest, but it’s the basketball action that is the movie’s claim to excellence. Expertly staged and beautifully rendered using a combination of computer-generated imagery and traditional hand-drawn animation, it’s often so spectacular that I am eager to watch again.
  16. Susie Searches is more than comfortable drawing on the staid tropes of its genre, particularly those that paint mental illness as a path to depravity. But despite its narrative shortcomings, the film builds a tense and mischievous mood that acts as its hook.
  17. By choosing simplicity over specifics, the filmmakers free themselves from the weight of words and open up space for a mood of intense disquiet and unusual sensitivity.
  18. The stately Foïs carries the film as it devolves into a restrained drama about familial loyalty and womanly fortitude, its change of gears not entirely clicking into place.
  19. In any given moment, the movie is either overstating the importance of its subject or trivializing it.
  20. The documentary’s raw material arguably could have yielded a more powerful fit with a tighter edit. Nevertheless, this is a mostly engaging portrait.
  21. Happiness for Beginners is inoffensive to a fault.
    • 84 Metascore
    • 80 Critic Score
    If we were never to see the Ventures again, “Radiant” lets us part with them on a high note, but hopefully this end is just the beginning.
  22. The documentary is less an inspiring tale than a sobering wake-up call.
  23. This consistently striking and deeply sad picture is the directorial feature debut of Na Jiazuo, who executes it with an assurance that makes him more than merely promising.
  24. The documentary “Glitch” is slyer and smarter than some of its paint-by-numbers dramatized contemporaries, and the story it prefers to tell is more interesting and complex than the battle of two domineering egoists who came up with a novelty app.
  25. As for LaBute, a once incisive chronicler of male cruelty and ineptitude, his continued dabblings in genre are lamentable. Perhaps the kindest thing to do is pretend this dud never happened.
  26. Even when the dialogue runs long and the film’s frights offer less terror than you’d want in a sci-fi-mystery flick, an inspired Foxx, a subversive Parris, and a ruthless yet melancholic Boyega, who shoulders the bulk of the dramatic weight, retrofit common stereotypes of urban Black life into the rich, dynamic humanism of its reality.
  27. China’s leadership has a history of suppressing art that spotlights the failings of its ruling class and ideology, which is exactly what Li’s film does, with a script that feels only occasionally overwritten. That he succeeds without making it feel like homework — which is to say beautifully, humanely — is presumably what made the film so threatening.
  28. We learn precious little about the personal lives of these impressive individuals. When it comes to what drove them, how they associated with others or how they dealt with danger, The Deepest Breath offers only surface-level observations.
  29. There’s little in “Underrated” that comes across as spontaneous. That may be because Nicks didn’t discover much that feels fresh. Or it may be that the project, like Curry today, doesn’t have anything to prove.

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