The New York Times' Scores

For 10,489 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Les Destinées
Lowest review score: 0 Two of a Kind
Score distribution:
10,489 movie reviews
  1. His film is no more profound than its forerunners, but it’s quicker, funnier and less pretentious.
  2. The courses of colonialism and racial strife were radically different in America and Australia than they were in Africa. That doesn't make Mr. Freeth's cause any less just, but it does mean that Mugabe and the White African needs to be approached with care.
  3. Beyond its grit and nonchalance, this story has a resigned, reflective, hard-earned wisdom that's unusual in an American film about such familiarly lurid subject matter. It's even more unusual in a film by Spike Lee.
  4. Gentle, coaxing questions from off camera draw out their stories.
  5. Tom Hardy and Tom Hardy are the reasons to see Legend.
    • 67 Metascore
    • 70 Critic Score
    There’s no dearth of rude humor on screens right now, but Death at a Funeral stands apart because its characters -- mostly reserved upper-middle-class British folk who have gathered to bury a patriarch -- are determined to keep a stiff upper lip no matter what.
  6. Inert yet strangely compelling film.
  7. Though its conclusion is too tidily therapeutic, and though elements of its story strain credibility, Moonlight Mile has an understated, lived-in quality and a wry, unforced sense of the absurd.
  8. [Mr. Mettler’s] images of galaxies, mandalas, particle accelerators and glowing red lava become his real subjects. He uses music and sound to control the pace, to slow time, as if cinema were a form of enforced meditation.
  9. Unabashedly polemical and rigorously pessimistic, a sustained Marxian indictment of 21st-century capital. The narration, by Mr. Sekula, is at times lyrical and rarely subtle, but the film is most graceful and moving when its argument slows down or wanders into an interesting tangent.
  10. Mr. Jacobs and Mr. Grodsky have an extraordinary ear for the rhythms and nuances of everyday speech, as voices overlap, conversations take random directions, and casual remarks carry loaded subtexts.
  11. Mr. Eska’s choices are thoughtful if sometimes studied: the movie is well cast with solid performers, and if the handsome digital images look overly sharp, as if outlined in razor, he consistently makes the most of his limited resources.
  12. If repetition has stripped Iran's post-revolutionary cinema of some of its modish luster, The Deserted Station is still a valuable addition to a literature whose characteristics are now internationally well-established.
  13. The freer and more sophisticated approach of "Divine Intervention" makes these traditional-minded documentaries look somewhat stodgy and old-fashioned by comparison, but both have a value as reportage that Mr. Suleiman's film does not pretend to have.
  14. If it isn't easy being any of the troubled people wandering through the film, Loggerheads makes it easy not only to believe in them, but to care about them as well.
  15. It's an interesting story, well told, though Mr. Jendreyko overworks some documentary fallbacks: gnarled fingers, the view from a moving train.
  16. While Frankenweenie is fun, it is not nearly strange or original enough to join the undead, monstrous ranks of the classics it adores.
    • 60 Metascore
    • 70 Critic Score
    Laid back and affectionate, “Cheese” is the movie version of a dear friend you could spend all day with.
  17. Originally intended as a cable television series, Middle Men bears some telltale scars of hasty, clumsy truncation. Still, there is a raffish vigor that makes the movie watchable despite all-over-the-map storytelling and a fuzzy, superficial grasp of the salient themes.
  18. Because the lead actors work so well together, adding depth and levels of vulnerability to fairly underwritten roles, the emotional consequences of the sense of displacement these "lucky" characters -- lucky to be alive, lucky to have met one another -- must deal with always ring true.
  19. Sluggish, stylized and frequently washed in a bilious green tint, The Missing Person is yet oddly irresistible.
  20. Maidan is a film of scale and immediacy, finding artistry, for better or worse, in bearing witness.
  21. The icy reserve that sometimes stands in the way of Kidman's expressive gifts here becomes the foundation of her most emotionally layered performance to date.
  22. The taunts in the ring may be make-believe, but the slams against the mat are agonizingly genuine in Robert Greene's vivid documentary Fake It So Real.
  23. Sleeping Dogs Lie doesn't pretend to be more than it is: a blunt, provocative comedy sketch whose visual look is almost as bare as that of an episode of the underappreciated Home Box Office series "Lucky Louie." The acting, especially by Ms. Hamilton, is better than serviceable.
  24. As filmmaking, “She’s Beautiful” is meat and potatoes: It gets the job done without frills.
  25. 9
    Every effort to expand the range of feature-length animation beyond the confines of cautious family fare is to be welcomed, and budding techno and fantasy geeks are likely to be intrigued and enthralled.
  26. It's an honest, unpretentious, well-made B picture with a clever, silly premise, a handful of sly, unassuming performances and enough car chases, decent jokes and swervy plot complications to make the price of the ticket seem like a decent bargain.
  27. One of the pleasures of this intelligent, rigorously thoughtful, somewhat sly film is that it takes place in the space between the inexplicable (no explanation is possible) and the unexplained (enlightenment might be around the corner).
  28. A valuable and intelligent introduction and tribute to their anarchic, uncompromising and absolutely peculiar genius.

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