The New York Times' Scores

For 17,545 reviews, this publication has graded:
  • 46% higher than the average critic
  • 4% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 4.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 What Maisie Knew
Lowest review score: 0 Gotti
Score distribution:
17545 movie reviews
  1. Beba is profound. The filmmaker delves into all of who she is, including darker or more destructive aspects of her identity, pushing viewers to see Huntt’s complexity — and perhaps their own.
  2. It’s not simply a movie about how Giannis became one of the most dominant players in the league. It’s about why Giannis is so lovable.
  3. Vedette joins a recent roster of documentaries about the uses and abuses of farm animals (others include “Cow” and “Gunda”). It’s disappointing that Bories and Chagnard fail to add anything to this environmentally urgent topic beyond their own surprise that these animals are more than indistinguishable milk factories.
  4. We
    An acute awareness of the relationship between memory, whether personal or collective, and identity emerges as the engine of We.
    • 77 Metascore
    • 70 Critic Score
    Budiashkina, a Ukrainian gymnast in her acting debut, plays Olga beautifully as a guarded, stubborn teenager with the weight of exile on her shoulders, who refuses to quit but still needs her mother, who is stone-faced on the mat but still cries into a stuffed animal.
  5. The self-reflexiveness of the entire enterprise only breaks the spell that Slate and Camp work hard to maintain — one which Rossellini effortlessly keeps intact with intelligence, beautifully controlled phrasing and a soft, melodious warmth that feels like a tender caress.
  6. One wonders if this generation’s more attuned and sensitive kids will find this staging of “Trevor” quaint, kitschy — or perhaps still universal.
  7. In the end, this isn’t a biopic or a horror movie or a cautionary parable: It’s a musical, and the music is great. Remixed, yes, and full of sounds that purists might find anachronistic. But there was never anything pure about Elvis Presley, except maybe his voice, and hearing it in all its aching, swaggering glory, you understand how it set off an earthquake.
  8. “Do the Universe” knows it won’t change the world, or precincts outside it. But the abundance of not entirely cheap laughs that this movie — which is best watched over a plate of nachos — delivers is therapeutic.
  9. Shot largely in hospital waiting areas, offices and conference rooms, The Human Trial is not a visually dynamic movie. But it builds a good head of steam in the narrative intrigue department before resolving on a low-key note of hope.
  10. The quiet candor with which Hannam addresses issues of masculinity, and how it intersects with an Indigenous and queer identity, elevates this otherwise conventional story.
  11. It’s the kind of film that is more interested in the appeal of a good Italian accent than it is in finding novel, or even particularly beautiful, ways to shoot and see Rome. The conscious callowness is agreeable, but it lacks freshness, like a midnight pasta reheated in the microwave.
  12. The movie never manages to hit above a dim emotional pitch, and a final-act awakening lands with a shrug.
  13. The film isn’t so much an allegory or fantasy as a witty philosophical speculation on some elemental human issues. We are animals driven by lust, hunger and aggression, but also delicate creatures in love with beauty and abstraction. Those two sides of our nature collide in unexpected, infinitely variable ways.
  14. In place of gouting gore and surging fright, this enjoyable adaptation of Joe Hill’s 2005 short story has an almost contemplative tone, one that drains its familiar horror tropes — a masked psychopath, communications from beyond the grave — of much of their chill. The movie’s low goose bump count, though, is far from ruinous.
  15. Chernobyl: The Lost Tapes, directed by James Jones, does not extensively explore the history of its components. It’s less concerned with the tapes themselves than with the act of bearing witness.
  16. a hackneyed story of a tedious, lovelorn expatriate, pulling himself together and dragging us around with him.
  17. If Gerson’s brisk supercut style can feel frustratingly cursory at times, he chooses wisely to concede the stage to the artists — rousing scenes from concerts and recitals are the film’s highlights — rather than turn them into data points for an exhaustive account of the refugee crisis.
  18. “Civil” yields fewer insights than hoped. At times, the neat documentary feels nearly as tailored as Crump’s suits.
  19. Strange and squelchy and all kinds of sick, Mad God comes at you with nauseating energy, its flood of dystopian images both playful and repulsive.
  20. I didn’t believe a single second in Cha Cha Real Smooth, but the movie isn’t trying to convince you of anything. It just wants you to like it. It wants you to smile, nod in recognition, shed a tear or two and feel good about yourself for liking it. It’s an exemplar of American indie entertainment at its most canned and solipsistic.
  21. Even for viewers with no relationship to Ikuta or his prior roles, “Sing, Dance, Act” provides a fascinating look into Kabuki theater and the particular sets of skills that are required to pull off such idiosyncratic performances.
  22. The softness lacks detail, the butterfly metaphors lack originality, but the movie is pleasant, a balmy introduction to adult feelings of desire and belonging.
  23. As self-promotional ventures go, this is an effort of integrity and good will, and packs in a lot of spirited music that more or less sells itself.
  24. At once polished and punky, Poser is about the maturing of a vampiric personality. Like its music, the movie feels exploratory and raw-edged, yet with a persistent pathos that clings to Lennon and isolates her.
  25. To set expectations, it’s best to think of My Fake Boyfriend as two movies. There’s the gay rom-com, focused on Andrew, that Pride month viewers have presumably tuned in for, and then there’s an almost “Black Mirror”-ish comedy, centered on Jake, about a meddling techie who gets caught up in his best friend’s life.
  26. Employing minimal background music and a bleak, blue-gray color palette, Rasoulof evokes a sense of nihilism that is as suffocating as it is affecting.
  27. Too soon, however, this intriguing psychological study turns into a programmatic geeks-vs-bullies story that relies on pushing the easiest emotional buttons.
  28. In following two young women employed as range riders in Idaho, the film presents its own modern-day picture of hard work and camaraderie.
  29. While the movie sustains levity, its lack of subtlety — and a lack of stakes, save for sweepstakes — make for an altogether bland bonanza.

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