The New York Times' Scores

For 13,393 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 The Counselor
Lowest review score: 0 Vulgar
Score distribution:
13393 movie reviews
  1. The lack of chemistry between the two leads is less damaging than Ms. Bennett’s inability to commit to a tone.
  2. The movie the directors have made doesn’t have the passion that its subjects do.
  3. Directed by Silas Howard from a screenplay by Daniel Pearle, who adapted his own stage play, A Kid Like Jake is humane, compassionate and strangely detached, almost to the point of inconsequentiality.
  4. Mr. Baker does nice work with the actors — his open-faced young leads are sincere, appealing, believable — and there’s a lot to like about Breath, including its attention to natural beauty and to how surfing can become a bridge to that splendor.
  5. Upgrade is an energetic, superficially slick, latter-day B-movie of the “but dumb” category. That is, it’s kind of like “RoboCop,” but dumb, and also like “Ex Machina,” but dumb.
  6. Signs of life are few. A desaturated palette makes Rodin as monotonous to look at as it is to endure.
  7. The chronological back-and-forth diffuses the dread and suspense — the feeling of desperate uncertainty implied by the title — that might have made for a more intense, more memorable yarn.
  8. The film, written and directed by Bart Layton, can’t quite decide what it wants to be: a slick, speedy caper; a goofball comedy; or a commentary on the state of the American soul. It’s none of those — a tame and toothless creature that is neither fish nor fowl.
  9. Future World is a miserable, idiotic sci-fi trifle, threadbare in both the imaginative and production value categories.
  10. 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.
  11. 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.
  12. 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.
  13. With The Misandrists, Mr. LaBruce announces, here is queer cinema: confrontational, pansexual, gender-fluid, racially inclusive, angry and surprisingly romantic.
  14. Superbly acted and confidently shot, Who We Are Now delivers substantial dramatic pleasures while posing pertinent questions.
  15. Summer 1993 is movingly understated and beautifully acted.
  16. 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.
  17. 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.
  18. It’s undeniable that Manhunt delivers first-rate cinematic technique while skimping on substantial emotional investment. It’s still a great deal of fun.
  19. Alex Strangelove is witty, compassionate and enjoyable throughout; a charming movie and in many respects an enlightened one.
  20. 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.
  21. 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.
  22. It is the portrait of a soul in torment, all the more powerful for being so rigorously conceived and meticulously executed.
  23. 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.
  24. 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.
  25. 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.
  26. 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.”
  27. 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.
  28. 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.
  29. 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.
  30. It doesn’t take itself too seriously, but it also holds whatever irreverent, anarchic impulses it might possess in careful check.

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