The New York Times' Scores

For 12,505 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 3.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 To Die For
Lowest review score: 0 The Heart Is Deceitful Above All Things
Score distribution:
12505 movie reviews
  1. Crisply directed by Thomas Morgan, the film depicts a succession of challenges facing Ms. Shaar, a smart, understated and tenacious entrepreneur.
  2. Its enchantments are dark, its ideas somber and brutal.
  3. Closure may be missing, but at least glimpses of promising Canadian performers are in abundant supply.
  4. Working a low body count and a slow burn, Desolation is a decent short film that’s been unwisely expanded to feature length.
  5. The miracle, though, is that the movie isn’t a diatribe. Its voices...are gentle and persuasive, using the horrific details of the rape and its aftermath as ballast to stabilize a heart-wrenching history of systemic injustice.
  6. While Mr. Moshé’s ambitions can be frustratingly modest, he does know that — however fraudulent the genre’s myths — the image of a man riding a horse into the sunset is in our cinematic DNA.
  7. I did admire this movie’s near-lunatic genre-hopping.
  8. Marcus Vetter and Karin Steinberger’s sprawling documentary probably dives into the weeds too quickly and could have used a tighter edit. Still, drawing on a wealth of courtroom video, the film lays out a persuasive argument for reasonable doubt.
  9. Ferdinand, the new computer-animated adaptation from Carlos Saldanha (the “Ice Age” movies), speaks to its own time in a different way, dutifully adhering to the template for contemporary children’s films while avoiding much personality or distinction
  10. As in Nicolas Philibert’s similar French documentary “To Be and to Have” (2002), the relative absence of conflict in the interactions between a seasoned teacher and wonderful pupils grows tedious at feature length, and there is — presumably by design — relatively little meat on this documentary’s bones.
  11. In spite of the charm and discipline of the stars, the jokes misfire and the scenes creak and stumble.
  12. Yes, the latest “Star Wars” installment is here, and, lo, it is a satisfying, at times transporting entertainment. Remarkably, it has visual wit and a human touch, no small achievement for a seemingly indestructible machine that revved up 40 years ago and shows no signs of sputtering out (ever).
  13. The writer and director Samuel Maoz (“Lebanon”) has an exacting eye. The framing is meticulous; soon it’s also very purposefully working your nerves.
  14. Alison closely resembles Jennifer Lawrence’s character in “Winter’s Bone,” another self-sufficient young woman whose family and community turn against her. This movie is not as tense, but it gets close thanks to Ms. Agron’s resolute performance and the movie’s hostile small town setting.
  15. Is Bullet Head good? In truth, it’s drab, derivative and more than slightly silly, but it’s tough to dislike like a movie that proceeds as if the 1990s cycle of Quentin Tarantino knockoffs never ended and that uses the prospect of gory canine violence in service of loud and persistent pro-dog cheerleading.
  16. I’ve rarely seen a movie about citizenship as quietly eloquent as Quest.
  17. Or maybe not: Committing completely to Carl’s wobbly perceptions, the filmmakers mire us in a hackneyed swamp of narrative uncertainty.
  18. As I, Tonya skips here and there and thickens the plot, it becomes increasingly baffling why the filmmakers decided to put a comic spin on this pathetic, dispiriting story. No matter how hard the movie tries to coax out laughs, there’s little about Ms. Harding, her circumstances or her choices that skews as funny.
  19. The movie is at its liveliest when it depicts Mr. Frisell making his distinctive sound with a variety of colleagues. And, fortunately, Ms. Franz includes a lot of such footage.
  20. It’s a divertingly funny movie, but its breeziness can also feel overstated, at times glib and a bit of a dodge.
  21. Clearly, the architect and the filmmaker are tight, which does not entirely benefit Big Time.
  22. The women’s missteps seem to come straight out of a cautionary morality play. And the movie’s dismal outlook even extends to the dimly-lit cinematography. It doesn’t need a miracle to see the light. It needs a full pardon.
  23. No doubt subtleties have been lost in translation, but the film is best viewed as an overripe, noir-tinged tragedy.
  24. The more Hope’s own obsession grows, the more involving the movie gets, even as it raises ethical questions about its making — and about those who continue to watch.
  25. It’s possible to fully, and vehemently, disagree with Mr. Wilson and Mr. Taaki yet still see their points. That can make The New Radical unsettling. It also makes it a film worth watching.
  26. This movie, which stars Stéphanie Sokolinski, the French musician known as Soko, in the role of Fuller, only comes alive during the dance sequences.
  27. Choosing not to delve too deeply into the mind of either man — or to question Mr. Talese’s journalistic ethics and less-than-scrupulous fact-checking — the directors are content to mostly watch as each vies for control of the movie, and his legacy. It’s an entertainingly desperate joust, playing out beneath defiantly unattractive lighting.
  28. The Shape of Water is partly a code-scrambled fairy tale, partly a genetically modified monster movie, and altogether wonderful.
  29. The script by Nicole Jefferson Asher toggles between sharp observations about wordcraft and some “Dynasty”- or Tyler Perry-level soap operatics. RZA’s direction lacks visual personality, but he keeps the narrative moving and elicits strong performances from his cast.
  30. The Malloys’ filmmaking never rises to the level of the actors’ nuanced performances. The actors are energized, but the camera enervates.

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