The New York Times' Scores

For 13,610 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Land of the Dead
Lowest review score: 0 Swearnet: The Movie
Score distribution:
13610 movie reviews
  1. Ferguson’s narrative is so dense and complicated, and at the same time so dramatic, suspenseful and clear, that it absorbs all of your attention.
  2. While the last third of Butterfield’s life is tragic, spending the better part of 90 minutes with the man and his music is exhilarating. The picture may get at least a few people talking about him again.
  3. The film captures up close the way violence transforms neighborhoods and families with an immediacy that transcends headlines or sensationalism.
  4. Partly because the movie is so splendidly and completely absorbed in its characters and their milieu, it communicates much more than a quirky appreciation for old books and odd readers.
  5. While this colorful and inquisitive cinematic essay on the state of the art world is occasionally skeptical and consistently thoughtful, cynicism isn’t really on its agenda.
  6. It reminds you of an extraordinary feat and acquaints you with an interesting, enigmatic man. But there is a further leap beyond technical accomplishment — into meaning, history, metaphysics or the wilder zones of the imagination — that the film is too careful, too earthbound, to attempt.
  7. Goddard keeps everything smoothly, ebbing and flowing as the characters separate and join together, but at some point during this logy 2-hour-and-21-minute exercise you want something more substantial than even Hemsworth’s admittedly mesmerizing snaky hips.
  8. Fluidly capturing the trajectory of a ruinous obsession, the writer and director, Sara Colangelo, skillfully fudges the line between mentoring and manipulation, and between nurturing talent and appropriating it. Suffusing each scene with an insinuating, prickly tension, she remains ruthlessly committed to her screw-tightening tone, offering the viewer no comforting moral escape hatch.
  9. Classical Period is often very funny, but it’s also poignant, imagining a milieu — part heaven, part purgatory — in which daily lives can be devoted to pondering the aggregated wisdom of the past.
  10. Lynskey and Schloss are well matched as mother and daughter, and Griffiths builds a relationship between them as this far-from-innocent teenager navigates her world. That rough journey is worth watching even when this film falls short.
  11. By making you feel deeply for his sister and her children, Valdez has fashioned his film to make the lapses less glaring.
  12. White and Monroe demonstrate natural chemistry, and they discretely suggest the private experiences of their characters, the youthful doubts that can’t be extinguished by passion. In unpretentious fashion, After Everything portrays the bittersweetness of a first love that blooms in crisis.
  13. Reports of excessively punitive training of female gymnasts surface with some regularity, so in that sense Over the Limit is not unexpected. But the Polish director Marta Prus, brilliantly constructing a very particular look at a sport in which the arch of an eyebrow is as important as that of a spine, remains coolly impassive.
  14. Bikini Moon is better in separate scenes than as a whole, where Manchevski’s overreaches and plot lapses become more glaring. In this film, the harshest truths — make that “truths” — are best served in small doses.
  15. Hyams directs Timothy Brady’s script appropriately if not brilliantly (Hyams is also credited as a co-editor), but the movie’s main attraction, finally, is its cast.
  16. It’s a film of scenes rather than of one unified narrative, but each scene is a showcase for the magnificent talents of Ms. Balibar, a multifaceted performer of spectacular magnetism and intelligence.
  17. It was said by many after the 2016 election that the Trump administration would yield great satirical art. This is not an example of that.
  18. It is hard not to be touched by the testing of paternal love, or by Nic’s fragility. But Beautiful Boy, rather than plumbing the hard emotional depths of its subject, skates on a surface of sentiment and gauzy visual beauty.
  19. The production design displays a genuine enthusiasm for the decorative kitsch of the Halloween season, and the flashes of giddy craftiness beneath the slick style almost compensate for the toothlessness of the horror.
  20. Fiction that hews close to fact, the movie is serious and meticulous, yet hollow.
  21. By addressing strife in Africa in a roundabout way, Liyana breaks free of the heaviness that can weigh down an issue-based documentary.
  22. Suffused with a sentimentality that Wilde himself would have deplored, The Happy Prince is narratively mushy and meandering. Yet, beneath the prosthetics, there’s genuine pathos in Mr. Everett’s portrayal of a man bitterly aware that his talents are unreliable armor against the perceived sin of his homosexuality.
  23. Every moment is as cringe-worthy and creative as Eugene’s floating toupee. Movies about the millennial moment are multitudinous, but Wobble Palace is special: a sendup of broke-artist types that shimmers with abashed affection.
  24. While most movies of this type simply peter out, “Instructions” maintains such an unswerving commitment to its dark purpose that its final, gorgeously tenebrous images will leave you wobbly for days.
  25. This is not a spectacular picture, but it’s an informative and heartening one that might make a good double feature with “First Man,” the forthcoming fictionalized blockbuster about Apollo 11.
  26. A big heart and a blunt plot run through Shine, a movie whose story is there mostly just to usher in a dance sequence or an earnest speech.
  27. Trouble makes a whole lot of noise without saying very much. The direction is wooden and the cinematography dull, leaving the solid cast (including Julia Stiles as a daffy clerk and Jim Parrack as her knuckle-dragging boyfriend) to shoulder the weight.
  28. Ultimately, the ingratiating eccentricities of Venom aren’t enough to really distinguish the movie from its superhero-movie brethren as it devolves into the usual expensive orgy of sound, fury and wisecracking.
  29. Ms. Jacir is a thrifty filmmaker; there’s nothing frilly in this movie. But she is also a sensitive and imaginative and resourceful one.
  30. Though it is poignant and funny in nearly equal measure, the most remarkable aspect of Private Life may be its lack of noticeable exaggeration. Ms. Jenkins is working at the scale of life, with the confidence that the ordinary, if viewed from the right angle, will provide enough drama and humor to sustain our interest.

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