The New York Times' Scores

For 16,649 reviews, this publication has graded:
  • 47% higher than the average critic
  • 4% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 A Sinner in Mecca
Lowest review score: 0 Simon Birch
Score distribution:
16649 movie reviews
  1. As any Neeson watcher will tell you, you don’t mess with his action characters once their dander is up. Sadly, Neeson’s dander is no match for a hackneyed plot, poorly visualized stunts and characters whose behavior can defy common sense.
  2. Scharf’s stories of meeting up with Haring (they were roommates for some time) are evocative and moving.
  3. It’s not difficult to be moved and impressed by Gretarsdottir’s life story, especially when she details the secrecy of her struggles, but the story falls short in tying these emotional threads with her athletic accomplishments in an eloquent manner.
  4. F9
    The director Justin Lin, happily brandishing all the expensive digital tools at his disposal, makes “F9” feel scrappy and baroque at the same time. The identity of the brand rests on twin foundations of silliness and sincerity, both of which are honored here.
  5. The standoff with authorities dawdles and languishes, and a side plot with a TV journalist (Labina Mitevska) feels one-note. Still, we should all look forward to seeing what Petrunya does next.
  6. The movie also shows the volunteers and health care workers who look after the pilgrims during the devotional season. The movie allows these figures moments of frankness — there’s much about their jobs that’s tiring and unappetizing — but the viewer will be mostly impressed by their compassion.
  7. This may be dark fodder for a family project, but the result is a visually striking meditation on obligation and complicity.
  8. The onslaught of information certainly impresses by illuminating a rich and not-often-discussed slice of feminist history, but the execution is distractingly flashy and gratingly unfocused.
  9. Majid Majidi’s latest feature doesn’t lack in style or charm, using a child’s perspective — a staple in Iranian cinema — to locate beauty and hope in a cynical world. As is often the case with the director’s work, however, precious visuals come at the cost of narrative complexity.
  10. Despite its vaguely unsettling clinical ambience, very little about the film as it makes its way to an ultimately flat and predictable final twist, manages to feel tense or thrilling. Or even funny for that matter.
  11. Both films are conventional in cinematic style, and they constitute the kind of feel-good entertainment that is easy to recommend. But what is timely and interesting — even thorny — about these films is their focus on the economic opportunities generated by athletic achievement
  12. LFG
    Both films are conventional in cinematic style, and they constitute the kind of feel-good entertainment that is easy to recommend. But what is timely and interesting — even thorny — about these films is their focus on the economic opportunities generated by athletic achievement
  13. Turning time and memory into an elliptical portrait of what it means when borders become barriers, I Carry You With Me, the first narrative feature from the documentary filmmaker Heidi Ewing, trades distance for empathy.
  14. Werewolves Within darts between sharp visual gags, intricately choreographed scenes and a few standout performances, but its climax lands with a thud.
  15. I can’t think of other actors at his level who could keep a sense of true north in a nonlinear story like this, from bear scene to sex scene to earnest confrontations, amid quotations from St. Augustine and Nietzsche.
  16. Some moments feel fresh, but the movie’s patterns are familiar: scheme, slaughter, repeat.
  17. Mitte, who played the son in “Breaking Bad” and himself has cerebral palsy, sells Mike’s tenacity, but the contrivances around him let him down.
  18. The Hitman’s Wife’s Bodyguard is loud, lazy, profane and well nigh incoherent. It’s also at times quite funny, with a goofy vulgarity that made me giggle.
  19. Giannopoulos might be inexperienced, but he’s canny with mood and unafraid to experiment with the rhythms of violence. I, for one, am keen to see what he does next.
  20. Moreno is given full rein of her story, which doubles as a case study in the highs and lows of showbiz for a woman of color.
  21. The “nothing to see here” focus gives the homey-feeling film the whiff of a sanctioned production.
  22. Despite Weitz’s sensitive direction and a superb cast — including Frankie R. Faison as Marian’s patient husband, DeWanda Wise as Matt’s patient love interest and Paul Reiser as his patient boss — Fatherhood can’t quite deliver.
  23. 12 Mighty Orphans is a plodding football drama in which the characters talk to one another like folksy social workers.
  24. Rockwell intentionally reminds his audience of the rich history of American independent cinema, where filmmakers across decades have built dreamscapes out of the textures of everyday interactions.
  25. in covering the repercussions of the branching cases, A Crime on the Bayou shows how superficially straightforward, courageous acts — like refusing to plead guilty unjustly or defending the unjustly accused — are hard.
  26. It ultimately stumbles in this balancing act and loses sight of its emotional core, but its efforts remain compelling and delightfully bizarre.
  27. The film’s drama wrestles itself to a standstill (along with leaving some characterization sketchy, like that of a concerned social worker). Yet Leblanc might come closer to the sensation of concealed trauma than movies with more familiar storytelling beats.
  28. The Sparks Brothers, an energetic documentary directed by Edgar Wright, explains their appeal in part by emphasizing how it cannot be explained.
  29. the connections drawn in Truman & Tennessee: An Intimate Conversation are sufficiently instructive that watching and listening to these writers is also, in a way, like hearing one author in stereo.
  30. Klein weaves all these moments into a story one could call spectacularly earthbound.

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