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 Affliction
Lowest review score: 0 Alien Girl
Score distribution:
9,703 movie reviews
  1. Probably the first romantic drama ever narrated by a smelly dead fish.
  2. Mr. Gudmundsson has created a sleek, light and entertaining work, with a few contrasting pockets of darkness and mystery.
  3. Mr. Redford has found his own visually eloquent way to turn the potboiler into a panorama, with a deep-seated love for the Montana landscape against which his rapturously beautiful film unfolds.
  4. Brilliantly reimagines the glam-rock 70's as a brave new world of electrifying theatricality and sexual possibility, to the point where identifying precise figures in this neo-psychedelic landscape is almost beside the point.
  5. Being Julia may not make much psychological or dramatic sense, but Ms. Bening, pretending to be Julia (who is always pretending to be herself), is sensational.
  6. By focusing on musicians who are talented but finally not good or persistent enough to succeed in the big time, Not Fade Away offers a poignant, alternative, antiheroic history of the big beat.
  7. The movie jolts you with the realization that the AIDS epidemic and the public debate about such issues have retreated so far under the news radar as to be half-forgotten.
  8. The real flaw is that the movie's best features -- the aching clarity of its central performances -- threaten to be lost in a wilderness of metaphor and mystification.
  9. The gentle, upbeat documentary Throw Down Your Heart chronicles the African pilgrimage of the American banjo virtuoso Béla Fleck in search of the origins of his chosen instrument.
  10. There is some acknowledgment of the terrible effects of the drug trade on residents of Harlem and other poor New York neighborhoods, but for the most part Mr. Untouchable clings to the standard hip-hop mythology of the pusher as entrepreneur, rebel, celebrity and folk hero.
  11. Urgent, informative and artfully assembled documentary.
  12. The movie expands in its frame, surpassing simple comprehension and continuing to grow in your mind — and perhaps to blow it — long after it’s over.
  13. Mr. Brosnan, as the best-moussed Bond ever to play baccarat in Monte Carlo, makes the character's latest personality transplant viable (not to mention smashingly photogenic), but the series still suffers the blahs.
  14. Tom Shepard's quietly observant documentary tracks its stressed-out subjects through an array of personal and scholarly challenges.
  15. Repackaging the revenge thriller in parakeet colors and distinctive African beats, the Congolese writer and director Djo Tunda Wa Munga gives Viva Riva! a playful sensuality that goes a long way toward disguising formula.
  16. Ms. Rohrwacher combines a documentary impulse (effective in family scenes) with a more allegorical one. Her film gets clunky when allegory has the upper hand, and that means Corpo Celeste often stumbles, along with its 12-year-old heroine, Marta (Yle Vianello).
  17. Mr. Fleifel helps walk us through the history with an ingratiating voice-over that lightens the seemingly permanent clouds of a dire history.
  18. Mixing pop savvy with startling formal ambition, Mr. Mann transforms what is essentially a long, fairly predictable cop-show episode into a dazzling (and sometimes daft) Wagnerian spectacle.
  19. While Ms. Collette grounds Ellie and her emotions in a tough-minded plausibility, she can only hint at what the script fails to deliver: the complexities of a flawed woman’s midlife crisis.
  20. At times The TV Set seems to unfold almost entirely without exaggeration.
  21. Just when it seems as though the language of insult and humiliation couldn’t get any nastier, the movie escalates the barrage.
  22. Though it lacks the artful, headlong immediacy of "The Circle" and "Offside," Jafar Panahi's films about women in Tehran - and the breakneck exuberance of Bahman Ghobadi's "No One Knows About Persian Cats," about Tehran's underground music scene - Circumstance ripples with the indignant energy of youthful rebellion.
  23. Ali
    We see the movie levitate when Ali and Brown chant, "Float like a butterfly," the slogan that takes on a different meaning in each context, starting off as hopeful and spry, finally becoming rueful and pointed. When the film pulls off moments like these, it's breathtaking -- a near great movie.
  24. (Spielberg) tells the story slowly and films it with lucid, mesmerizing objectivity, creating a mood as layered, dissonant and strange as John Williams's unusually restrained. modernist score.
  25. There's not much here; some of the shots feel so static that you wonder if they're being rehearsed before your eyes.
  26. At times you wish Mr. Marx had sharper storytelling skills (or a better editor). Some important details seem clear only in retrospect, and some remain murky. Still, Mr. Marx shines a light on a place and a way of life that are rapidly changing.
  27. My Brooklyn, Kelly Anderson's sensitive study of gentrification in her home borough, is as much personal essay as urban-policy survey.
  28. In a subversion of the usual horror-movie rhythm, the central secret is revealed about halfway through.
  29. It’s a full three-ring affair, complete with puffs of smoke, glitter and grunge, some hocus-pocus, mumbo jumbo and even a dwarf.
  30. Rejoices in a plot as tricky as its spelling.

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