The New York Times' Scores

For 13,090 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 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Strange Little Cat
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
13090 movie reviews
  1. This account is plausible and moving, at once a defense of genre fiction and of female creativity. But at times the differences between male and female writers can seem a bit schematic, in a way that undermines Mary’s intellectual autonomy.
  2. Methodical and efficient, the script (by Mr. Young and Adam Frazier) gets some mileage from its generic setting and zombie-infection theme, even if the croaking order is easily predicted.
  3. How to Talk to Girls at Parties is a kitschy, spaced-out oddity. The energy peaks and droops, pogoes and flatlines, with Sandy Powell’s kooky costumes doing much of the visual heavy lifting.
  4. With The Misandrists, Mr. LaBruce announces, here is queer cinema: confrontational, pansexual, gender-fluid, racially inclusive, angry and surprisingly romantic.
  5. Superbly acted and confidently shot, Who We Are Now delivers substantial dramatic pleasures while posing pertinent questions.
  6. Summer 1993 is movingly understated and beautifully acted.
  7. The director, Kate Novack, has delivered a film that’s detailed and affectionate, but also frustratingly static, making a point not to get in its subject’s way.
  8. In Darkness moves along so smartly that near the end, when the filmmakers entreat you to follow them just a bit more, you’ll likely oblige. And why not. They’ve already gotten you to invest quite a lot in this clever little thriller.
  9. It’s undeniable that Manhunt delivers first-rate cinematic technique while skimping on substantial emotional investment. It’s still a great deal of fun.
  10. Alex Strangelove is witty, compassionate and enjoyable throughout; a charming movie and in many respects an enlightened one.
  11. If Show Dogs sometimes betrays its shaggy charms, there is comfort in remembering that many movies are much dumber than this one, and so few of them have either the good taste or the good manners to compensate with puppies.
  12. The trouble is that despite how earnest and committed Mr. Zahs appears to be, the story of what’s in the collection might be more be more fascinating than the man who’s collected it.
  13. It is the portrait of a soul in torment, all the more powerful for being so rigorously conceived and meticulously executed.
  14. The interview sections are fascinating, and scenes of the pope’s travels, during which he frequently washes the feet of those who come to him, are moving.... Less welcome are Mr. Wenders’s brief attempts at depicting the life of St. Francis himself.
  15. The Most Unknown works best as inspiration to delve deeper into these disciplines, and as a celebration of science. And when the film comes up short, it still functions like an intriguing experiment: It doesn’t have to be entirely successful for you to learn something.
  16. Mr. Porterfield’s evenhanded direction doesn’t try to pull the viewer’s sympathies one way or another. Within his realistic mode he crafts some startling effects — a strip-club brawl that spills out into broad, embarrassing daylight is eye-opening.
  17. That Summer, a new documentary directed by Goran Hugo Olsson, sheds further light on the Beales with footage shot before the making of “Grey Gardens.”
  18. A good story gets stuck in a puddle of mood in Dark Crimes, a film that strays from its fascinating source — a real-life murder case — into a less successful attempt at noir.
  19. These women — Ms. Fonda, Ms. Keaton, Ms. Steenburgen and Ms. Bergen, that is — have nothing to prove. Each one brings enough credibility and charisma to Book Club to render its weaknesses largely irrelevant.
  20. Onscreen, On Chesil Beach loses some intensity at the end, as the supple suggestiveness of Mr. McEwan’s prose is replaced by the stagy literalness of film. Perhaps this couldn’t be avoided.
  21. It doesn’t take itself too seriously, but it also holds whatever irreverent, anarchic impulses it might possess in careful check.
  22. There is something ever so slightly dishonest about this character, something false about the boundaries drawn around his sadism and his rage. Deadpool 2 dabbles in ugliness and transgression, but takes no real creative risks.
  23. The zaniness is pretty low-key, and what we witness is less the explosion of pent-up energy than the gentle affirmation of exuberant kindness.
  24. With an overbearing score, Breaking In telegraphs almost everything that happens yet still provides several jolts amid its occasionally questionable twists. While the filmmakers aren’t exerting themselves to deliver anything other than a popcorn-seller, Ms. Union is working hard to keep you watching.
  25. For those terrified of heights, Mountain will be a nonstop nightmare. Yet big scares are a small price for the awe-inspiring footage you’ll see. As for what you’ll hear, that takes a little explaining.
  26. It’s easy to second-guess a scene or three in Anything. Yet this is a film that wagers you’ll put aside your doubts and open up to its gentle emotions. It’s a bit of a risk for a viewer. But I’d take it.
  27. Lu sometimes feels more like a cynical plot device than a character. The problem is only amplified by the animation itself.
  28. The material about Kubrick’s process is finally more interesting than the discussions about his temperament.
  29. Subtle and slow and wrenchingly empathetic, The Escape is about gradually realizing that the life you have may not be the one you want.
  30. What it conveys is not so much Mr. Mekas’s experience as Mr. Gordon’s will, and his cheap sadistic hostility to the audience. It makes this film a vexed experience.

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