The New York Times' Scores

For 12,716 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 3.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Diary of a Teenage Girl
Lowest review score: 0 I Will Follow You Into the Dark
Score distribution:
12716 movie reviews
  1. So it looks as though this film simply makes more goose pimples than sense, which is rather surprising and disappointing for a picture with two such actresses, who are very good all the way through it, and produced and directed by the able Robert Wise.
  2. The Wildlike landscapes are exhilarating, but when the film works, it’s because of the interiors.
  3. Has the makings of a great documentary, but a subject as complex as this demands greater rigor, deeper intelligence and a sense of dialectics.
  4. Because of its shortcomings, (T)error serves as evidence of a broken system rather than an indictment of it. Yet such evidence is worrisome and points to a threat to civil rights.
  5. While Mr. Reybaud has exemplary artistic confidence and an interesting vision, this is a movie that in many ways defines or justifies the “not for everybody” critical hedge.
  6. The film has some charm and a winning simplicity but not an iota of depth.
  7. The actors are uniformly impressive, and Mr. Wheatley’s longtime cinematographer, Laurie Rose, shooting in black and white, combines stunning pastoral compositions with bursts of graphic violence punctuated by blazing flintlocks.
  8. Somehow, in spite of the stunning vistas and some witty and affecting moments, the story seems to unfold at a distance; the human drama is diminished by the setting rather than amplified by it.
  9. The feel-good movie of the year.
  10. It’s a tense, sharply assembled debut feature from Ben Young. Its main problem, though, is that it never answers a basic question: Why are we watching this?
  11. Instead of digging into the psychology and morality of greed, Mr. Jarecki only glances and lectures in that direction before piling on a lot of melodramatic complications, including a death, an investigation and a cynical detective (Tim Roth). These days, it seems, the illegal manipulation of hundreds of millions of dollars simply isn't enough to incite moral outrage.
  12. It’s not easy being green. But to judge from how this hand-drawn movie addresses, or rather strenuously avoids, race, it is a lot more difficult to be black.
  13. Beltracchi: The Art of Forgery is a case in which a great documentary topic hasn’t yielded a great documentary.
  14. Whatever visual poetry the film possesses is overwhelmed by the thuddingly bad and nearly ceaseless narration, written by Ms. Benacerraf and Pierre Seghers.
  15. Something Wild is often "Something Wrong."
  16. Dogtooth supplies no such explanation and at times seems as much an exercise in perversity as an examination of it.
  17. The dog is cute, the children are adorable, and the earth and the sky seem to stretch on without limit in The Cave of the Yellow Dog. Unfortunately, so does the slight story.
  18. Much of the laughter Mr. Brooks inspires is hopeful, before-the-gag laughter, which can be terribly tiring...Blazing Saddles has no dominant personality, and it looks as if it includes every gag thought up in every story conference. Whether good, bad, or mild, nothing was thrown out.
  19. There is a troubling complacency and a lack of compassion in The Impossible, which is less an examination of mass destruction than the tale of a spoiled holiday.
  20. Mr. Belvaux's sensitive, generous way with actors suggests that, with more discipline and less gimmickry, he might have made a single masterwork, and After the Life provides the best support for this assessment.
  21. Like most documentary polemics, it simplifies the issues it confronts and selects facts that bolster its black-and-white, heroes-and-villains view of raw economic power.
    • The New York Times
  22. Frustratingly, though, perhaps because he is an outsider and was concerned about appearing biased about another culture, about all that Mr. Marston does is chew on this clash, as if the repeated images of teenagers talking on cellphones next to a horse-drawn cart were a substitute for a strong filmmaking point of view.
  23. With so much going for it, how could the movie be such a dud?
  24. Golden Slumbers has a tendency to wallow in its romanticism, not to the point of trivializing its history, but definitely dropping off into somnolence.
  25. Ms. Wells is appealing onscreen and is a smart writer. She gives Emily some good zingers.
  26. “Sacred Deer” feels like a dark, opaque bit of folklore transplanted into an off-kilter modern setting.
  27. Both in its ingratiating vibe and bland execution, Cars is nothing if not totally, disappointingly new-age Disney.
  28. A minor diversion dripping in splatter and groaning with self-amusement.
  29. By the Time It Gets Dark has clearly been thought through, but it’s so cryptic that it cries out for, if not perfect explanations, perhaps footnotes. It’s so conceptual that it offers little for those not in sync.
  30. There is power in this vision, but it can also feel forced, almost mechanical.

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