The New York Times' Scores

For 12,236 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 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Jafar Panahi's Taxi
Lowest review score: 0 You Again
Score distribution:
12236 movie reviews
  1. Mr. Malick presents these events as if he had drawn them not from his mind but from some repository of celestial memory. Which may be to say that Voyage of Time ultimately proves his point about the way the universe and human consciousness mirror each other. But it’s a point that might have been more powerful if he had left it unspoken.
  2. A loving if routine primer on this bright young man.
  3. Some of the performances show flashes of idiosyncrasy and flair that are nearly snuffed out by the pedestrian script.
  4. The diagrammatic script, by Jarret Kerr, has wit but could sometimes use more nuance. But there are tasty performances.
  5. The coming-of-age story about the corruptions of the big city has been done a few thousand times, but at least this one offers a fresh mix of open-minded intelligence and a heartfelt point of view.
  6. The shriller its didacticism, the more unhinged it becomes. But even at its most ludicrous - when it is shouting into your ear - its sheer audacity grabs your attention.
  7. Leap! remains peppy as it sets its bar at a low-to-medium height then cheerfully clears it.
  8. Nostalgia gives way to melodrama, and dramatic truth to soapy histrionics, and Blue Jay falters on a formulaic revelation about mistakes made and lessons learned too late.
  9. Ms. Passon ultimately seems to skirt some of the larger life questions hinted at along the way.
  10. Aside from the change of setting, Ms. Ullmann’s version is quite orthodox. Much more convincing than Mike Figgis’s 1999 screen adaptation, starring Saffron Burrows, it is a grueling slog through a hell of torment, cruelty and suffering.
  11. It is possible to admire the craft and sensitivity of Louder Than Bombs without quite believing it. The characters are so carefully drawn that they can feel smaller than life, and the dramatic space they inhabit has a curiously abstract feeling.
  12. Each narrative fissure further thwarts meaning. The most you can ask from a movie as nullifying as this one is that it offer wit and visual panache, which it does.
  13. The overall mood is of warm reassurance, and some of it is even pretty funny.
  14. A moody, spooky tale, rendered with laudable economy.
  15. The plot matters only inasmuch as it allows the returning director, Chad Stahelski, to stage his spectacular fight sequences in various stunning Roman locations, where they unfold with an almost erotic brutality.
  16. The narrative scheme, the brooding period atmosphere, the understated score (by David Byrne) and the precision of the acting also make the story seem more interesting than it is.
  17. Trucker sometimes feels like a performance in search of a movie.
  18. The best case for Warriors is its cinematic time travels and its peek into the natural wildness of a long-closed countryside.
  19. It’s hard to enjoy the action when you witness its emotional cost, but once Sook-hee starts slashing goons from atop motorcycles, it’s equally impossible to root for the violence to stop.
  20. Los Angeles Plays Itself, in spite of its length, is rarely tedious, an achievement it owes mainly to the movies it prodigiously excerpts.
  21. Cyrus is more finely tuned than their earlier movies ("The Puffy Chair," "Baghead"), but it shares a similar, almost aggressive lack of ambition. John doesn't work hard and neither do the Duplasses, who don't want their audiences to break a sweat either. That's too bad, because Cyrus is more interesting and fun when you're recoiling at the effrontery of its comedy and not its conventionality.
  22. At length, the cheerleading...becomes a mildly taxing torrent. And Mr. Struzan, while an agreeable presence, is not an especially engrossing speaker. But then there is his artwork, an essential aid to the movies — and often their superior.
  23. Kisses may strike you as either ingeniously magical or insufferably cute, depending on your taste. But more than the story, which circles back on itself, the natural performances of its young stars, Shane Curry and especially Kelly O'Neill, nonprofessional actors, lend the movie a core of integrity.
  24. The director’s discipline is remarkable, and also a bit constricting.
  25. The performances are conscientious and earnest.
  26. It’s fortunate that the cartoons on display are such instantly satisfying works of popular genius, because, despite its subject, “Herblock” shows how even an edifying talking-heads documentary bumps up against the limitations of the format.
  27. The film falls short of explaining Mr. Ali, who, like many outspoken individuals, can stubbornly repel scrutiny, nor will it pacify the many who opposed his conscientious objections. But it also underlines one enduring quality: namely, that he probably couldn’t care less what people think.
  28. Sarah Silverman burns through the indie drama “I Smile Back” without making the slightest move to gain our sympathy.
  29. Despite the slow start Mr. Condon closes the series in fine, smooth style. He gives fans all the lovely flowers, conditioned hair and lightly erotic, dreamy kisses they deserve.
  30. Poking the bear of repression has consequences beyond Mr. Zahedi's immediate artistic goals, as this layered, intermittently fascinating documentary makes abundantly clear.

Top Trailers