NPR's Scores

  • Movies
For 1,027 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 4.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 A Separation
Lowest review score: 0 This Means War
Score distribution:
1,027 movie reviews
  1. Handsomely and vividly mounted, in a palette of period chocolates and golds, Get Low opens with an image of a burning man running from a house on fire -- an enticing promise of Southern Gothic that the movie never quite fulfills.
  2. Like most second parts of trilogies, this movie is more or less all middle.
  3. A film that's sweet, inclusive and sunny, a charmer filled with people who seem every bit as surprised as we are when they manage to look past surface differences, and find reasons to bond.
  4. Ondine plumbs the country's most resonant fairy tale and plays impishly along the borders of postcard fantasies of Ireland.
  5. Despite its fanciful premise, Never Let Me Go looks and feels utterly real.
  6. The trick to enjoying The Town, Ben Affleck's follow-up to his impressive 2007 directing debut, "Gone, Baby, Gone," is to expect nothing but pulpy entertainment.
  7. It's brilliantly silly entertainment whose flaws are glaring only in hindsight; in the moment, you'll have much more fun if you stop looking for holes in the script and join Paul in looking for a way out.
  8. Douchebag has the intensity and taut circularity of a short story told with economy and style.
  9. Despite some dark undercurrents, the movie emphasizes humor, and its best moments are more than kind of funny.
  10. Inspector Bellamy is dedicated to the memory of two famous Georges: the drily ironic singer Brassens, and Georges Simenon, whose crime novels go for the jugular of bourgeois France - and dig deep into the black hearts of those who, just when they imagine they have hit bottom, can always sink lower.
  11. "Liar Liar" meets Obi-Wan? Who'da thunk even fearless star power could make these two work as a romantic pair? But both stars prove to be enormous fun in a gay love story played straight in a thoroughly crooked context.
  12. At its best, The Fighter takes on the chasm between televised boxing and its mostly working-class, aspirational origins with grit and intelligence.
  13. Undertow, for all its narrative tricks, has been given the rhythm and texture of real life, as well as emotional undercurrents that are haunting.
  14. Soderbergh imposes a shape until the film begins to feel less like puzzle pieces in search of their place and more like one seamless picture: It's almost as if, with this collage of the artist's past work, he's created an entirely new final monologue for Gray.
    • 57 Metascore
    • 80 Critic Score
    A good-hearted, funny movie.
  15. If The Lincoln Lawyer has nothing new of substance to offer in its tale of life on the judicial margins, it has relaxed L.A. atmosphere to burn.
  16. Director Spencer Susser doesn't try to make Hesher anything other than a sociopath - a walking, profanity-spewing id - and to his credit, neither does Gordon-Levitt.
  17. It's not the artistry of X-Men: First Class that's particularly striking; though it's finely crafted, the film feels less the product of a visionary director than of the Marvel movies machine working at maximum efficiency.
  18. Promoting understanding and appreciation of the beauty of the bees and our intertwined relationship with them is also presented as a vital part of the equation.
  19. More than anything, though, Another Earth is an impressive calling card for Brit Marling, who wrote and produced the movie with Cahill, a classmate from Georgetown University. Marling also steals the movie as Rhoda Williams.
  20. It's customary to describe this kind of thriller as "adrenaline-fueled," but this is the first time apart from "Pulp Fiction" I can recall there being an actual shot of adrenaline on screen. Samuel uses it to wake Hugo from his coma, then kind of wishes he hadn't.
  21. As the comedy in 50/50 turns darker, Gordon-Levitt, who's maybe the most natural, least affected actor of his generation, makes prickly plenty engaging.
  22. I'm pretty sure that the terrific British actress Janet McTeer never meant to act Close out of every frame they share, but she surely does as Hubert, a cheerful bruiser who brings his own secrets to the party, as well as a monumentally fake broken nose, a kind heart and a practical gift for converting adversity to advantage.
  23. This is a film built around its star, just as surely as any of its cheesier '80s forebears.
  24. Wiseman's fragmented approach misses the continuity of the show, which mixes erotic dance with comedy, magic and even a little soft shoe, and tells an overarching story that Crazy Horse never quite communicates. Yet there's more than enough compensation in the scenes Wiseman does catch.
    • NPR
  25. Writer-director Michael K. Roskam takes his time in revealing why Jacky needs to shoot up, but that LaMotta restlessness is unmistakable - this bull here can rage.
  26. And then there's the simple fact of De Niro, playing a delusional taxi driver. It's easy to imagine Being Flynn's story turning precious in the wrong hands, but Weitz and his cast spin it just right - as a narrative that is both emotionally real, and just writerly enough to suit its leading men.
  27. The crisply sweet banter and the halting intimacy that grows between two shy people with a common goal more than makes up for a wildly implausible plot.
  28. The Kid With a Bike feels as vulnerable as Cyril's unformed character. Within its tight 87 minutes, not a lot happens, unless you count the saving of a life.
  29. Propriety and recklessness make for uneasy bedfellows in The Deep Blue Sea, a shimmering exploration of romantic obsession and the tension between fitting in and flying free.

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