The New York Times' Scores

For 12,819 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 Inside Job
Lowest review score: 0 Unthinkable: An Airline Captain's Story
Score distribution:
12819 movie reviews
  1. For all the linguistic gymnastics, the film is hamstrung by its directors’ lack of visual imagination.
  2. Mr. Mully’s actions speak for themselves, and his robust personality makes him a pleasure to listen to. If the film doesn’t always dig deeply into this man’s life, we still see the results of his efforts. Those are enough to admire.
  3. Ms. Didion’s triumph, as a writer and a human being, has been to take the age for what it is, to pinpoint how she saw it, and to stick it out.
  4. Mr. Clooney gets some things right in Suburbicon, including visually and with his two appealing child actors, who together give the movie a heartbeat.... But he skimps on the adult characters’ inner lives, and, once the narrative weight shifts to the Lodges, he never finds the tone that balances the movie’s sincerity with its nihilism.
  5. The Square is ultimately a long version of Christian’s rambling apology, ostentatiously smart, maybe too much so for its own good, but ultimately complacent, craven and clueless.
  6. Ms. Betts refrains from easy, uplifting answers and facile condemnations of organized religion. Aided by Kat Westergaard’s warm, restrained cinematography, she takes the viewer close to an understanding of Cathleen’s evolving sense of her relationship with God.
  7. Mr. Gomis’s cinematic style is spectacularly multifaceted.
  8. The movie’s premise isn’t as bad as the forced, unnatural dialogue. Even the reliable Ms. Applegate and Mr. Church can’t salvage the screenwriter Jeremy Catalino’s clumsy lines.
  9. Opening an aperture into a process so ego-stripping that it feels unseemly to witness, The Work is enlightening yet also punishing.
  10. The Divine Order effectively illustrates how peer pressure can influence the political process. Collective silence, whether it’s from women unwilling to publicly press for their rights or men afraid to voice agreement with their wives for fear of looking weak around co-workers, proves more of an obstacle than any opponent. That message gives Ms. Volpe’s lark a timely edge.
  11. The director, Marc Forster (who wrote the script with Sean Conway), fashions such a languid, tipsy aesthetic around the seemingly happy marriage of Gina and James (Blake Lively and Jason Clarke) that it’s easy to keep watching.
  12. If, like its characters, Thank You for Your Service sometimes struggles to balance staying strong with wearing its heart on its sleeve, it makes an emotional plea in a direct, effective way.
  13. God’s Own Country weaves a rough magic from Joshua James Richards’s biting cinematography and the story’s slow, unsteady arc from bitter to hopeful.
  14. This movie finds Mr. Perry, never the most deft at the technical aspect of filmmaking, drastically off whatever his best game is.
  15. Geostorm uses digital technology to lay waste to a bunch of cities and hacky screenwriting to assault the dignity of several fine actors.
  16. A leaden, clotted, exasperating mess.
  17. in spite of its historical specificity, BPM never feels like a bulletin from the past. Its immediacy comes in part from the brisk naturalism of the performances and the nimbleness and fluidity of the editing. The characters are so vivid, so real, so familiar that it’s impossible to think of their struggles — and in some cases their deaths — as unfolding in anything but the present tense.
  18. “Sacred Deer” feels like a dark, opaque bit of folklore transplanted into an off-kilter modern setting.
  19. Mr. Selznick’s emphasis on wonder...can feel bullying, as if he were demanding delight instead of earning it. Yet even as he follows Mr. Selznick’s narrative lead, Mr. Haynes quietly and touchingly makes Wonderstruck his own because the wonder of the film isn’t in its story but in its telling.
  20. Jane will delight those familiar with Ms. Goodall and provide a vibrant introduction for newcomers.
  21. Ms. Enos is a credibly fraying voyeur, all anxious looks and nervous starts, but “Never Here” is too emotionally antiseptic to engage.
  22. Slow to get moving and dramatically slack, Jungle cares only about Yossi, whose solo suffering and speed-enhanced hallucinations dominate the narrative.
  23. Tragedy Girls might add group texts to its instruments of death alongside marauding table saws and falling barbells, but the movie’s gender stereotypes keep it chained to the past.
  24. Under its slick, schematic surface, this tale of aspiration and redemption at least offers moments of genuine feeling.
  25. As a documentary, One of Us is a small act of portraiture, but each portrait captures the pain of having a life upended.
  26. Such a dynamic personality as Mr. Turner’s could use a more dynamic documentary to illuminate it. As it is, “Dealt” remains a pleasing — if inoffensive — portrait.
  27. In this time of mass displacement across the globe, it is a stark reminder of how traumatic the refugee experience often is.
  28. It’s an artful and lyrical assembly.
  29. Liberation Day, a documentary of preparations for the concert directed by Mr. Traavik and Ugis Olte, is a consistently understated chronicle of Westerners who are very carefully playing with fire.
  30. The Paris Opera feels at once sprawling and insufficiently patient.

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