The New York Times' Scores

For 13,915 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 The Waiting Room
Lowest review score: 0 Phantom
Score distribution:
13915 movie reviews
  1. Shyamalan’s talent for primitive scares remains intact in Glass, as does his love for cramming a whole lot of story in one feature.
  2. The movie’s emotional potency is undeniable, its slow crescendo of wounded feelings and shimmering photography leaving unexpected imprints on the eyes and heart.
  3. Using newsreels, voice-overs and re-enactments, Roberta Grossman, the documentary’s director, paints a comprehensive portrait of the times and of the risks taken by Ringelblum and his group. The staged scenes are well acted, while readings from diaries and letters are heartbreaking.
  4. The single achievement of I Hate Kids, a new comedy directed by John Asher, is that it is simultaneously tepid and offensive.
  5. For a political thriller to come up with a scheme that feels genuinely rousing, An Acceptable Loss would need the two qualities it most severely lacks: style and substance.
  6. The Standoff at Sparrow Creek, the writing-directing feature debut of Henry Dunham, strands seven actors in a warehouse to bark exposition at one another. Listening closely is necessary: The monotonously dark visuals barely function to carry the story on their own.
  7. Anna feels more like a device than a person, a collection of eccentric behaviors (her job involves counting molehills) that support an aesthetic of excessive cuteness.
  8. Fyre needs another layer. You can locate in it this national moment of brashness and effrontery.
  9. This isn’t a perfect movie — sometimes the machinery of plot-focused screenwriting hums a little too insistently, especially toward the end, disrupting the quieter, richer music of everyday life — but its clearsighted sensitivity makes it a satisfying one.
    • 31 Metascore
    • 30 Critic Score
    The picture’s single saving grace is Chase’s co-star Dreyfuss, who deploys all of his considerable charisma. He shines, but not brightly enough to bring this moribund project to life.
  10. Like democracy itself, the movie assumes such a broad mandate and has such noble intentions that indicating its shortcomings seems almost beside the point.
  11. It is globally minded filmmaking that is also comfortingly familiar.
  12. There are a few powerful images.
  13. If you like your torture movies tight, twisty and decently executed, then Pledge is for you.
    • 77 Metascore
    • 80 Critic Score
    It engages the audience with a deeply resonant narrative that highlights the ways our sense of safe keeping can suddenly be ripped from our grasp. And it reminds us of the power we possess, even when we think we’re helpless.
  14. This picture is well acted (one of the cast members, Manuel García-Rulfo, has a growing profile in Hollywood; he was seen last year in “Widows” and “Sicario: Day of the Soldado”) and maintains narrative interest without ever grabbing the viewer by the lapels.
  15. Some squinting will be required to block out the race and class stereotyping, as well as the puddles of sentiment scattered throughout the highly predictable plot. Yet Jon Hartmere’s script has genuinely funny moments and is blessedly short on crassness.
  16. As ridiculous as it gets, and that’s plenty, A Dog’s Way Home manages to serve up a one- to two-hankie finale, depending on the extent of your dog-person-ness.
  17. Too bad that the best that can be said about the woeful movie version of the The Aspern Papers, based on the Henry James novella, is that it might send you running to the original.
  18. You could say that what the film is about lies just beyond the reach of images or words. It’s a necessarily cerebral meditation on the nature of physicality.
    • tbd Metascore
    • 70 Critic Score
    An examination of the unconscious racial bias embedded in Izzy and Astor’s interactions would have made for a more revelatory take on relationship dysfunctions. Still, Izzy’s despair and self-loathing force Astor to confront his own, redeeming an often insufferable protagonist and ultimately salvaging the film.
  19. There are intimations of “Tales From the Crypt,” “Final Destination,” “The Game,” and other older, better films here; this movie never catches a fire like any of those did, and even its twist coda feels dreary and pro forma.
  20. Corfield is fine in a role that gives her little opportunity to do more than run and fight, but a woman this empowered removes the question mark from her survival — and the tension from the movie.
  21. Schroeder’s approach is calm, almost detached, in keeping with his other work (although the choice of de Medeiros to speak for Buddhism, and with a nonspecific Asian-seeming accent at that, struck me as an avoidable misstep); this makes the bleakness of what he recounts (which is buttressed by an insinuatingly menacing score by Jorge Arriagada) that much more resonant.
  22. While Jorgen Johansson’s windswept photography creates a credible sense of isolation (he filmed in part at the Mull of Galloway lighthouse), we sense the ominous rhythms of impending calamity.
  23. The images serve the dialogue, but they are not given a chance to expand the story, depriving the movie of texture and energy. Danluck dives with Katherine into the depths of grief-stricken obsession, and her film suffocates for want of room to breathe.
  24. While the sights and sounds here are unique, the movie seems frustratingly torn about whether to buy the futurism and mysticism it’s selling.
  25. Steve Coogan and John C. Reilly deliver dynamite performances that capture the expressions and physicality of the star comedians without ever descending into caricature. They never strain for laughs but are consistently amusing.
  26. There is still intermittent joy to be found in their autumnal bromance.
  27. On the Basis of Sex does a brisk, coherent job of articulating what Ginsburg accomplished and why it mattered, dramatizing both her personal stake in feminist legal activism and the intellectual discipline with which she approached it.

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