The New York Times' Scores

For 12,608 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 Mr. Turner
Lowest review score: 0 Not Cool
Score distribution:
12608 movie reviews
  1. It’s not good, but it could pass muster among midnight-movie enthusiasts or curious stoners.
  2. The finale enlivens an otherwise staid biopic, but whether the film has earned a moment of uplift is unclear.
  3. As a chronicle of how San Francisco has changed over the years — and as a salute to the city’s role as a back lot for masters like Erich von Stroheim and Howard Hawks — The Green Fog is a wonder of excavation and urban history. What it says about Hitchcock is more ambiguous.
  4. A tough and cleareyed look at how things are, rather than how we want them to be.
  5. Blame is earnest but underdeveloped. At the same time, it’s overdetermined and often overplayed.
  6. In Between, Ms. Hamoud’s debut feature, is an unusually welcoming and engaging film, inviting you to become a part of the circle of friends it depicts with such energy and warmth. For that reason, it can also be frustrating.
  7. In retrospect, the sheer amount of gush in the movie, all the praise and feverish shouts of bravo, underscores the limits of affirmational documentaries. It is also a reminder that a movie’s meaning is made (and remade) by its viewers, not just its content.
  8. Landing lightly on the loneliness of fame and the ravages of aging, Film Stars Don’t Die in Liverpool is a fond farewell to a distinctive talent. Yet I couldn’t help wishing it had spent less time anticipating Grahame’s death and a little more illuminating her life.
  9. The ending is puzzling, when it wants to be devastating, and the political and personal sides of the story, rather than illuminating each other, fight to a stalemate. Ms. Kruger, however, who won the best actress award at Cannes in May, leaves a vivid, haunting impression.
  10. On first viewing, the captivating strangeness of the mood and the elegant threading of the plot are likely to hold your attention, but later you can go back to savor the lustrous colors, the fine-grained performances and the romantic mystery that holds the whole thing together.
  11. All the Money in the World revs up beautifully, first as a thriller. But while the kidnapping is the movie’s main event, it is only part of a story that is, by turns, a sordid, desperate and anguished tragedy about money.
  12. It is hard not to wonder how this movie might have turned out if Mr. Sorkin had decided his protagonist was as much a weasel as the one he wrote for “The Social Network,” another story of an American striver. It’s hard not to wonder, too, how this story might play if its protagonist wasn’t a woman who, as this movie sees it, needed so much male defending.
  13. Distinguished mainly by its overqualified cast and lack of inspiration, Father Figures can’t decide whether it’s a gross-out comedy or an uplifting tale of brotherly love; it embraces the worst of both worlds.
  14. A German Life is likely to be the last new movie of its kind: a documentary that presents contemporary testimony from someone who witnessed the inner workings of the Nazi high command.
  15. Story clarity and emotional depth tend to evaporate amid the visual pyrotechnics.
  16. The superb cast provides mild pleasures, as do some aspects of the elaborate mystery itself. And that’s all, folks.
  17. Hangman is riddled with holes — blank spaces, if you will.
  18. A mild film, Drawing Home could use an electrical charge, or an undercurrent of urgency. The pacing is uneven, and the movie feels slow in spots and too long overall, even though it lacks detail that would have enriched it. An internet search offers a fuller idea about the real lives of the subjects.
  19. It has an uncommonly strong ensemble cast...but the movie belongs to Mr. Trintignant.
  20. Downsizing is an ambitious movie about the value of modesty, and its faults are proportionate to its insights. I sort of wish it felt like a bigger deal, but maybe that’s my problem.
  21. You’ll find beatings, shootouts, car crashes, awkward analogies and a measure of buddy badinage in “Bright,” but true enchantment is in short supply.
  22. As a filmmaker, Mr. Spielberg invariably comes down on the side of optimism; here, that hopefulness feels right. It also feels like a rallying cry.
  23. Hostiles itself wants to be both a throwback and an advance, not so much a new kind of western as every possible kind — vintage, revisionist, elegiac, feminist. What makes the movie interesting is the sincerity and intelligence with which it pursues that ambition, heroically unaware that the mission is doomed from the start.
  24. With a plot as unfocused as its freshly graduated characters, the shaggy Pitch Perfect 3 gets by on karaoke logic: What makes for a good time isn’t the song you sing, but the company you keep.
    • 48 Metascore
    • 40 Critic Score
    An amusement park version of P.T. Barnum is fine, as far as that goes, but if you are going to aim for family-friendly fun, you need to get the fun part right.
  25. The performances by Mr. Johnson, Mr. Hart and Mr. Black seem informed by the conviction that if they amuse themselves, they will also amuse others. They are not entirely wrong, but they are also not sufficiently right.
  26. As the parents, Mr. Wilson and Ms. Arquette seem just about as tired as the characters they’re playing. As Auralie, Ms. McLean is appealing and fresh-faced and could do well in a better coming-of-age movie in a few years.
  27. Crisply directed by Thomas Morgan, the film depicts a succession of challenges facing Ms. Shaar, a smart, understated and tenacious entrepreneur.
  28. Its enchantments are dark, its ideas somber and brutal.
  29. Closure may be missing, but at least glimpses of promising Canadian performers are in abundant supply.

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