The New York Times' Scores

For 9,703 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 Citizenfour
Lowest review score: 0 Two of a Kind
Score distribution:
9,703 movie reviews
  1. At some point, though, Mr. Byrkit turns one too many corners (characters, meanwhile, begin bustling in and out of rooms like Marx Brothers extras), and what began as a nifty puzzle feels more like a trap.
  2. The movie, written and directed by Vidi Bilu and Dalia Hager, is really a study of people coping with excruciating boredom and the absurd aspects of military life.
  3. The film is best watched as a richly sensual stylistic exercise filled with audaciously beautiful imagery, captivating symmetries and brilliantly facile tricks.
  4. Mr. Dick, whose previous documentaries have examined sexual abuse in the Roman Catholic Church, the inner workings of the movie ratings system and the life and work of the French philosopher Jacques Derrida, is a cerebral muckraker. While his techniques are not as nakedly tendentious as Michael Moore’s (and his movies, as a consequence, are not as much fun), he hardly pretends to be a detached or unbiased observer.
  5. The film is well organized and visually snazzy and keeps enough distance from its subject that you don't feel swamped in a tide of hysterical fandom.
  6. The beauty of the movie, in fact, is that Mr. Estevez does not make explicit what any of them find, beyond friendship. He lets these four fine actors convey that true personal transformations are not announced with fanfare, but happen internally.
  7. There is both too much story and not enough. The contours of this desolate future are lightly sketched rather than fully explained, which is always a good choice. But that minimalism serves as an excuse for an irritating lack of narrative clarity, so that much of what happens seems arbitrary rather than haunting.
  8. The movie's sexual politics are as contrived as its plot, which veers off into one of the surprise endings of which Mr. Altman is so fond.
  9. Seems refreshing, even mildly subversive.
  10. The performances, even those by trained actors like Mr. Ramirez and Ms. Majorino, have the hesitant, blinking opacity that some directors look for in nonprofessional casts. Their awkwardness is charming, and part of the point of the movie, but it also makes for some dull stretches and thwarts your ability to regard the characters with sympathy rather than mere curiosity.
  11. Too fixated on 1939 for its own good. Its passionate immersion in a past that only dimly resonates with younger audiences may be a badge of its integrity, but that immersion trumps its vision of the future and leaves us in a land of nostalgia.
  12. A spare, painterly and scrupulously unsentimental look at the plight of illegal Mexican immigrants massed at the United States border.
  13. With no grand speeches or oversized gestures, Mr. Katz creates a specific world that gracefully enlarges with universal meaning.
  14. Beverly Hills Cop finds Eddie Murphy doing what he does best: playing the shrewdest, hippest, fastest-talking underdog in a rich man's world.
  15. Vaporous and chilled to freezing, Interview lacks a single honest moment, but it does have plenty of diverting ones.
  16. A textbook example of seat-of-the-pants guerrilla filmmaking.
  17. It is the sort of human-scale production that holds your attention with good acting, nice lighting and a screenplay that favors thought over action, thoughtful incident over full-blown episode.
  18. A fascinating glimpse not just of the early campaigns of the African National Congress, but also of the way childhood memories can obscure larger truths.
  19. Thought-provoking rather than deeply philosophical, Ever Since the World Ended features many engaging performances and several outstanding ones.
  20. Like Douglas Sirk without the throw pillows, Sunflower is a shamelessly old-fashioned melodrama performed with such sincerity that resistance is futile.
  21. Packed with illuminating interviews and lyrical movement, Breath Made Visible portrays a woman with angels in her feet and innovation in her blood. Long may she rock.
  22. Regrettably, the film, almost devoid of music, is drastically undermined at its end by an inadvertently comic rap tribute by the Kansas City performance artist to the "American citizen with Palestinian blood."
  23. The real pleasure of this film lies in its recognition of session artists and in the oddities and mysteries within the evolution of any given item of pop culture.
  24. A first-rate, seemingly sweat-free entertainer, Mr. Boyle always sells the goods smoothly, along with the chills, the laughs and, somewhat less often, the tears. He’s wickedly good at making you jump and squirm in your seat, which he does often in Sunshine, but he tends to avoid tapping into deep wells of emotion.
  25. The Robber may have less on its mind than its sheen of seriousness would suggest, but the view is gorgeous.
  26. You may not quite trust Mother and Child -- its soft spots and fuzzy edges give it away -- but you can believe just about everyone in it.
  27. Pacific Rim, with its carefree blend of silliness and solemnity, is clearly the product of an ingenious and playful pop sensibility.
  28. A modest, intermittently engaging film.
  29. Ah, well. "There Was Once ...may feel like sober, do-gooder public television, but it has integrity, recording one specific town's slice of living history. Simple as that, it's a worthy document.
  30. It is hard not to admire the independence and ambition of The Beautiful Country, even if the film does fall short of its epic intentions.

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