The New York Times' Scores

For 13,192 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 3.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Two Days, One Night
Lowest review score: 0 Vice
Score distribution:
13192 movie reviews
  1. When the movie can stay out of its own way, it delivers some powerful scenes, including one in which Blomfeld faces down a would-be assassin (Nandiphile Mbeshu, superb) in a prison shower room. But beyond that, the movie offers conventional gratifications and no surprises.
  2. We get a brief dip into his family’s past and emigration from Israel, but the filmmaker never digs deeply enough to reveal any other substantial dimension of this man, or her theories about what shaped him.
  3. Rigorously structured and glacially paced, this sophomore feature from Andrea Pallaoro (after his 2015 family tragedy, “Medeas”) is a minimalist portrait of brutal isolation and extreme emotional anguish.
  4. Because time erases or alters Mr. Goldsworthy’s sculptures, movies are the ideal medium to capture them.... The surprise of Leaning Into the Wind is that it’s just as concerned with how time has changed Mr. Goldsworthy.
  5. It’s hard to imagine other performers bringing so much to this setup. They give a true impression of two people who have spent their lives together and know how to talk each other.
  6. Watching it with a demonstrative crowd in a Times Square theater proved to this former grindhouse devotee that sometimes you can go home again, at least momentarily.
  7. Ms. Huppert’s presence — steady, warm, thoughtful but with a casual air — keeps the entire enterprise classically comedic.
  8. Mr. Oyelowo is without a doubt the best thing in Gringo, supplying the only grace notes in a cacophony of secondhand attitude and facetious overacting.
  9. The Death of Stalin is by turns entertaining and unsettling, with laughs that morph into gasps and uneasy gasps that erupt into queasy, choking laughs.
  10. For all the chatter and intrigue, Mr. Finley never settles on a point or theme.
  11. A Wrinkle in Time, faithful to the affirmative, democratic intelligence of the book, is also committed to serving its most loyal and susceptible audience. This is, unapologetically, a children’s movie, by turns gentle, thrilling and didactic, but missing the extra dimension of terror and wonder that would have transcended the genre.
  12. An imbecilic misfire.
  13. It helps that Ms. Lawrence, like all great stars, can slip into a role as if sliding into another skin, unburdened by hesitation or self-doubt. Craft and charm are part of what she brings to this role, as well as a serviceable accent, but it’s her absolute ease and certainty that carry you through Red Sparrow.
  14. The filmmakers supply terrifying footage: At civilian rallies, we see nightstick beatings and bloody riots. During military battles, bullets whiz by and explosions shake the cameras. Nerve-racking scenes follow Ukraine’s extraordinarily bold volunteer soldiers.
  15. The story is as predictable as they come, played out at such a low emotional temperature as to be practically ignorable. Which wouldn’t necessarily be a problem if it offered something else worth paying attention to. Something else besides the endlessly watchable lead actress, that is.
  16. They Remain, directed, edited and scripted by Philip Gelatt, from a short story by Laird Barron, shows that it’s possible to a make an engrossing genre piece on limited resources.
  17. If the movie doesn’t go more than skin deep in interrogating questions about interventions both military and journalistic into the Middle East, it does succeed in opening up Mr. Hondros’s contradiction-filled world.
  18. As tables turn and turn again — nudged along by a wolfish impostor (Ward Horton) and some creative torturing — the movie allows scant time to ponder each new tack.
  19. Handsome cinematography and a highly competent supporting cast — including Michelle Monaghan, Nathan Lane and Alex Karpovsky — can’t save The Vanishing of Sidney Hall, a tortured mystery dripping with pretentiousness.
  20. Its sociopolitical concerns — primarily around indigenous land rights — are muted and muddled by a script that favors manly grunting and moody looks over clarifying dialogue. Riven with racism and sharp bursts of violence, Goldstone nevertheless has a rough, desolate beauty.
  21. A movie in which the human comedy is by turns tender, plaintive, heartfelt and joyful.
  22. The satire is cautious and the emotions restrained, so that what should be a swirl of lust, ambition, recrimination and bureaucratic absurdity rises only to genteel, nervous laughter and mild discomfort.
  23. The performers don’t seem like they’re acting at all, which contributes to the film’s unsettling power. The elliptical narrative structure articulates a sad truth of the addict’s life concerning both the challenge and the tedium of making it through to the next fix.
  24. The movie, a scorching and rigorous essay on memory and accountability, is neither a profession of guilt nor a performance of virtue. Though his inquiry is intensely, at times painfully personal, Mr. Wilkerson is above all concerned with unpacking the mechanisms of racial domination.
  25. Suffused with sorcery and silvery light, November, written and directed by Rainer Sarnet, is a bizarre Estonian love story — a mishmash of folklore, farm animals and scabrous fun — in which beauty and ugliness fight to the death.
  26. The result is simultaneously elusive and concrete: abstract cinema that packs a punch.
  27. Anyone digging through the cemetery soil again had better have fresh ideas. The Cured, the debut feature from David Freyne, has roughly two.
  28. Are We Not Cats is a well-put-together film with a lot of striking imagery, but, as you may have already inferred, something of a specialty item.
  29. The director is Michael Sucsy, who is not always up to the challenges of the knotty material — we live in a world of mainstream movies with clumsy edits, but this one has more conspicuously bad cuts than most.
  30. Working with an uneven cast and an undercooked story, Mr. O’Malley hits the horror beats just fine (slam, creak, squeak) without putting a sinister spin on the assorted strange doings. For all the genre exertions, none of this feels the least bit spooky.

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