The New York Times' Scores

For 11,422 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Thelma & Louise
Lowest review score: 0 Sorority Boys
Score distribution:
11422 movie reviews
  1. The Secret Life of Pets is adequate animated entertainment, amusing while it lasts but not especially memorable except as a catalog of compromises and missed opportunities.
  2. [A] crisp if feather-light documentary.
  3. Reminds us that when it comes to comedy, it's all in the writing. Mr. Kalesniko's satirically barbed screenplay, whose spirit harks back to the comic heyday of Blake Edwards, stirs up an insistent verbal energy that rarely flags.
  4. Arise always feels unified, a genuinely felt and executed womanist letter to the world.
  5. The best scenes are the contests in which the competitors hammer away, executing the kind of grand flourishes with each return of the carriage that Liberace exhibited at the piano.
  6. What could have been a very funny short film about self-control and befriending your id instead becomes a rambling commentary on father-son dysfunction and the limits of proctology.
    • 63 Metascore
    • 60 Critic Score
    Part 1, directed by David Bruckner is superb, with affecting performances, a sense of dread reminiscent of John Carpenter’s “Prince of Darkness” and many striking images. Part 2, directed by Dan Bush aims for George Romero-style ghastly humor, but it’s more grating than funny. Part 3, directed by Jacob Gentry adds a splash of tragic love, but its preference for gore over feeling becomes monotonous.
  7. Honeydripper is agreeable, well-intentioned and very, very slow. Sadly, it illustrates the difference between an archetype and a stereotype. When the first falls flat, it turns into the other and becomes a cliché.
  8. Ms. Rappoport’s sturdy performance helps keep this outlandish melodrama from collapsing into unintended comedy.
  9. Think of this movie as a greatest-hits package, with some good stuff to show but nothing very new to say.
    • 59 Metascore
    • 60 Critic Score
    Mr. Stewart dilutes the movie’s urgency by framing the subject within a “personal journey” format and selling himself as a hunky, sensitive martyr.
  10. The movie does have its own kind of blockheaded poetry.
  11. Both entertaining and empty: an emotional shell game that leaves you feeling cheated even though, on the surface at least, everyone is a winner.
  12. A candy-colored never-never land that Peter Pan might envy.
  13. The access to Fassbinder that the relationship provided was a boon to the film, but a disadvantage as well because the close-up view results in a patchy portrait rather than a coherent biography.
  14. Ego struggles and innovator's laments (nobody gets us!) are a refrain in many band documentaries. How to Grow a Band adds a modest but effective entry to the genre's back catalog.
  15. This weirdly engaging tale of banking and bad behavior makes 19th-century China look uncomfortably like 21st-century America.
  16. Propelled by astute, straight-faced performances, it succeeds in stirring up some maniacal laughs.
  17. The movie isn’t especially well made, yet because Tucker is such a gloriously rich figure — immigrant turned runaway mother turned vaudevillian turned superstar — she renders its formal and aesthetic shortcomings (mostly) irrelevant.
  18. A little wan but a lot likable, Gustavo Ron’s Ways to Live Forever is a forthright and surprisingly buoyant drama about facing death before you have really lived.
  19. Shot in sunny locales, Difret has an earnestness that hovers between plain-spoken and pedestrian, and there are scenes and sequences that just don’t come together as written and edited, no matter how admirable the film’s existence is.
  20. Mr. Brook and Ms. Wells are in a sense not documenting a controversy at all; they are capturing an endemic, heartbreaking defeatism.
  21. Although Ms. Davenport pushes the analogy between this modest rescue operation with America’s invasion of Iraq a bit too forcefully, she nonetheless makes her point with persuasive, touching candor.
  22. Good Dick surmounts its indie-movie quirkiness with exceptional acting and a sincere belief in the salvation of its wounded characters.
  23. The sharks are scary, and the ocean is vast and indifferent, but the most effective parts of Open Water, which is ultimately too modest to be very memorable, evoke a deeper terror, one that can chill even those viewers who would never dream of putting on a wet suit and jumping off a boat.
  24. A mildly facetious tone limits Anderson's film to the lightweight, but the collective enthusiasm behind this debut effort still comes through. What's best about Bottle Rocket is not the laid-back pranks that inflate its story to feature length but the offbeat elan with which that story is told.
  25. The Salt of the Earth leaves no doubt about Mr. Salgado’s talent or decency, and the chance to spend time in his company is a reason for gratitude. And yet his pictures, precisely because they disclose harsh and unwelcome truths, deserve a harder, more robustly critical look.
  26. Ms. Lemmons has a tough time finding her tone. From scene to scene, the actors are good and then less so, while the direction wavers from assured to unsteady.
  27. The movie is a watchable collection of images that never quite come together.
  28. This proudly derivative genre exercise will not be to every taste (or stomach), but the director, Can Evrenol, shows a certain knack for tension and for framing viscera in wide screen, even if his cutting is sometimes too quick.

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