The New York Times' Scores

For 11,559 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Summer Hours
Lowest review score: 0 September Dawn
Score distribution:
11559 movie reviews
  1. Settles for being an atmospheric scenes-in-the-life biography of someone's most unforgettable character. It could have been so much more.
  2. The director, Iciar Bollain, who wrote the screenplay with Alicia Luna, invests Antonio with humanity, which would be more impressive if she had paid more attention to exploring the darker recesses of Pilar's inner life.
  3. Mendelsohn's fusion of science fiction and Chekhovian melancholy finds a fresh perspective on a familiar theme.
  4. Entertaining to watch - notwithstanding the scene in which Dae-su eats a live animal - which is a good thing, because there is not much to think about here, outside of the choreographed mayhem.
  5. Strong emotions — desperation, dread, desire — are indicated but not really communicated, and everything happens in a hazy atmosphere of humorless homage and exquisite good taste.
  6. 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.
  7. 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.
  8. Whatever the facts, Mr. Gracia’s messily structured film works best as a document of fear in today’s Ukraine and as a kind of ghost story about the Soviet Union.
  9. The film, by Justin Bare and Matthew Miele, would be better if it spent less time gushing about how great Mr. Benson is and more time confronting some of the questions his approach raises.
  10. Some limitations of adapting secondhand material show through in the uneven visual quality and diminished control over mood. Yet Mr. Herzog is openly inspired, as ever, by the rugged independence of these resourceful trappers, who seem stoic about everything but their faithful dogs.
    • 74 Metascore
    • 50 Critic Score
    While the screen flashes and flickers, little else is happening.
  11. The movie is choppy and rushed — a bumper-car ride that somehow fits the rough-and-tumble era it recalls.
  12. The film may be one-sided, but if nothing else, it is a reminder that the “coal equals jobs” equation is a serious oversimplification.
  13. May not be fully satisfying as a documentary. But it has what any good movie needs: a star — the ever-game soprano Natalie Dessay.
  14. Mr. Bar-Lev has made an excellent documentary, but it would have been better if he had not made it at all.
  15. In Land and Shade, the setting holds more interest than the plot: a fable-like, elemental story that sketches its characters too faintly to develop much power.
  16. This film nimbly straddles biography and “Trek” valentine (Adam is a longtime television director), but also recounts the fraught if ultimately devoted ties between Adam and Leonard.
  17. The main problem with Such a Long Journey is its storytelling. There is simply too much happening.
  18. Narco Cultura feels like two short films sandwiched together to make a feature. One is a shallow pop-music documentary focusing on Mr. Quintero. The other is an equally superficial portrait of the embattled Ciudad Juárez, across the border from El Paso.
  19. The Wildlike landscapes are exhilarating, but when the film works, it’s because of the interiors.
  20. Has the makings of a great documentary, but a subject as complex as this demands greater rigor, deeper intelligence and a sense of dialectics.
  21. 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.
  22. The film has some charm and a winning simplicity but not an iota of depth.
  23. 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.
  24. 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.
  25. The feel-good movie of the year.
  26. 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.
  27. 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.
  28. Beltracchi: The Art of Forgery is a case in which a great documentary topic hasn’t yielded a great documentary.
  29. Whatever visual poetry the film possesses is overwhelmed by the thuddingly bad and nearly ceaseless narration, written by Ms. Benacerraf and Pierre Seghers.

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