The New York Times' Scores

For 13,727 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 3.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Affliction
Lowest review score: 0 Surveillance
Score distribution:
13727 movie reviews
  1. By adamantly focusing above all else on van Gogh’s work — and its transporting ecstasies — Schnabel has made not just an exquisite film but an argument for art.
  2. There’s not much here you haven’t seen before, and very little that can’t be described as crude, obvious and borderline offensive, even as it tries to be uplifting and affirmative. And yet! There is also something about this movie that prevented me from collapsing into a permanent cringe as I watched it. Or rather, two things: the lead performances.
  3. Relentless, spell-it-all-out dialogue is wedded to a clunky visual approach that’s pretty much the cinema equivalent of a wikiHow entry.
  4. The result is a fascinating and sometimes frustrating hybrid, a film that tries both to transcend and to exploit its genre.
  5. While the movie is rightfully more interested in lauding her bravery than highlighting her sometimes abrasive personality, these small moments help to humanize a portrait that can at times seem more awestruck than enlightening.
  6. With its achingly slow build and understated performances, The Clovehitch Killer strains to surmount its lack of urgency.
  7. This is an atmospheric, well-acted film that leaves us mostly cold.
  8. Cam
    Cam is more successful as an oddly feminist tale of gutsy self-reliance than as a fully developed drama.
  9. The movie, itself somewhat torn in sensibility, permits itself an easy out.
  10. Dweck divides his efforts between elegiac tone poem and shaggy-dog ensemble piece.
  11. Of Fathers and Sons is ultimately more impressive for its access than it is revealing of drives or beliefs. If Derki’s goal was to capture what causes ideology to spread, he and his camera look without seeing.
  12. Instant Family isn’t a hellish movie, although it is very much a Hollywood one.
  13. Their stories are as harrowing, complicated and rife with imponderables as any Lanzmann filmed. And together, collected in a form that is much less labyrinthine than “Shoah,” they represent an ideal introduction (and capstone) to Lanzmann’s project.
  14. It’s an embarrassment of riches, and it’s suffocating.
  15. Mackenzie does nice, tight work now and again, mostly in more intimate sequences, but too many scenes drag, and his fetishistization of violence proves numbing.
  16. The Price of Free is interested in spreading the word about Satyarthi’s work, both in India and globally, and in getting consumers to approach what they buy with a critical eye, so as not to support child labor. That’s an important message, and it’s not essential to watch the movie to receive it.
  17. As seen in the film’s terrifying opening and its gruesome climax, Avery deftly orchestrates some grisly, intense set pieces. He delivers on the thrills, even if the story leaves something to be desired.
  18. The film’s elegant compositions themselves are painterly, with the actors carefully posed; and the atmosphere is theatrical, with crisp line readings and sparsely populated frames. Those elements, plus a meandering story line, may not make for a particularly involving narrative experience. But it sure is nice to look at.
  19. The Ballad of Buster Scruggs is one of the darkest movies by Joel and Ethan Coen, and also among the silliest. It swerves from goofy to ghastly so deftly and so often that you can’t always tell which is which.
  20. It all adds up to a film aiming to be a moving character study (and an ostensible homage to Agnés Varda’s “Cléo From 5 to 7,” a far more vivid exploration of existentialism), but instead feels adrift.
  21. Several long, wordless stretches arise during the film, all of them thoughtful. Jaron Albertin, directing his first feature, cultivates tension in small moments and doesn’t force the drama.
  22. Lousy with stereotypes and filthy language, the sordid Pimp wraps 21st-century blaxploitation in a lesbian love story as unconvincing as every other relationship on screen.
  23. The leads’ chemistry nearly redeems this shopworn setup, and the movie is at its best when it simply chills out with them.
  24. While the movie has allegorical resonances with the political and human rights disasters of 20th-century Romania, by the end, its surfaces, while remaining superficially unimpressive, open up as the film moves from epistemological speculation onto a plane of mysticism. This relatively short film contains worlds.
  25. Cheerfully derivative yet doggedly entertaining, Number 37 benefits from Dumisa’s slick execution and impressive acting by her small cast.
  26. The upshot is a gentle, gossamer movie that, like its soundtrack, goes down easy and is almost instantly forgotten.
  27. Chef Flynn is an engaging documentary about McGarry’s boy-to-man journey.
  28. Carlitos’s sole reason for living is moving from one transgression to the next. The same might be said of the movie, which superficially probes his amorality while exploiting it for slick thrills.
  29. Mirroring its green protagonist, The New Romantic presents an image of sophistication while playing with ideas that are out of its depth.
  30. Alvarez tries to pep things up with chases, near escapes, dramatic rescues, fetish wear and female nudity. But the whole thing is a bummer, at times risible.

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