The New York Times' Scores

For 15,610 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Great Beauty
Lowest review score: 0 The Tiger and the Snow
Score distribution:
15610 movie reviews
  1. While it’s generally a pleasure to see stalwarts like Cromwell, Weaver and Jack Thompson (as one of the old gang) at work, one also wishes they had found, well, better work.
  2. Pain is a necessary ingredient in any successful comedy. The trick, which Barbakow and Siara seem to have mastered on their very first try, is to find the misery of the right kind and intensity, to imply tears that match the laughter.
  3. Breathtakingly photographed by Mohammad Reza Jahanpanah, Widow of Silence is a movie with a cool head and a sharp eye — one that sees greater hope in the flamboyantly jeweled tones of a carmine head scarf than in the entrenched absurdities of a broken bureaucracy.
  4. Tito is a better achievement in sound and visuals than plot or character. The sheer strangeness of the film may be mesmerizing at first, but even the slim 70-minute run time eventually feels tedious when so little happens.
  5. At times, Mavromichalis himself seems starstuck, to the extent that he can’t distinguish the disarming from the banal
  6. The movie is consistently seductive, and it makes lovely use of a composition by Shannon Graham that is woven into Veronica’s work as a music teacher. But several story shortcuts . . . ensure that the characters’ anguish feels more constructed than organic.
  7. Smart, noisy and flashily assured, We Are Little Zombies is entirely, gleefully its own thing.
  8. Relic deftly merges the familiar bumps and groans of the haunted-house movie with a potent allegory for the devastation of dementia.
  9. I’m not usually someone to hope for sequels, but I guess if you live long enough …
  10. Seen with or without foreknowledge of its methods, Bloody Nose, Empty Pockets is only fitfully engaging — suspect as documentary, insubstantial as fiction.
  11. This is a pretty movie to be sure, with attractive cinematography, period costume and production design. But the film has no political or philosophical weight, and it is ultimately a movie that is as hard to take seriously as its somewhat dunderheaded protagonist.
  12. Even for those familiar with Ai and his work, the film’s offerings of fascinating insights into his personal life and an exploration of the stakes of personal freedom make it a worthy viewing experience.
  13. There are a lot of laughs in his Hollywood redemption story, which also reveals Trejo’s hard-won gentleness.
  14. After a dillydallying slow start, Brown ratchets up the tension efficiently, summoning a mix of gross-out body invasion, eco-mutation and large-scale cosmic dread on a small budget.
  15. The movie is generous about allowing Mercado to present his view of the world in his own words, but it’s a shame not to be able to see the world through his eyes.
  16. While much of the movie was shot on an actual ship, there is a lot of C.G.I., and a good deal of it is not entirely convincing. “Greyhound” also feels like a movie that was conceived as an epic but could not quite muster the necessary force. As such, it’s ultimately one of Hanks’s most perfunctory pictures.
  17. For all the impetuousness of its subjects, this is a film of remarkable respect and restraint — a documentary that carves shape into a messy reality.
  18. Unspooling over the course of a few lazy summer days, the film offers an enigmatic examination of youthful alienation, its plot irresolute and unpredictable.
  19. The story gradually emerges through an accretion of details and personal dynamics, often in families that stand in for the larger world. Things happen quietly or offscreen. The drama is measured out in sips, in gazes, gestures, silences, off-handed humor and shocks of brutality.
  20. Though the Psammead grants the children’s wishes . . . they come with a catch: a set up for an unimaginative moral lesson and nearly two hours of lukewarm familial bonding.
  21. The Mexican-born Naranjo, best known for the showy 2011 thriller “Miss Bala,” here depicts the toxic gender relations of young louts — culminating in assault, forced drugging, and general grossness and incoherence — with a stoic grimness that wants to look like resigned wisdom. It’s not.
  22. Although the film uses a conventional format, it makes an urgent argument: that a new wave of voter suppression has threatened the rights that Lewis labored to secure.
  23. In many of Herzog’s nonfiction films, the director himself is a defining presence. One understands why he wanted to stay behind the camera and off the soundtrack here. This wrinkle in modern social life is best taken in without the mitigation of overt distancing.
  24. The Outpost evolves from what initially feels like a collection of war-movie commonplaces, highlighting crude-talking soldiers in a bad situation, into something more complex and illuminating.
  25. The film does an excellent job of introducing the pop star to unfamiliar audiences, contextualizing her activism and, more broadly, examining the role art can play in shaping our beliefs.
  26. Welcome to Chechnya is a moving and vital indictment of mass persecution.
  27. Subdued and temperate, Skyman refuses to lean into the mystery of Carl’s claims or wind us up for a final resolution. Those elements might be present, but they’re never allowed to obscure what is essentially an empathetic, textured portrait of loneliness and loss.
  28. The excitement derives entirely from the awareness of nitroglycerine and the gingerly, breathless handling of it. You sit there waiting for the theatre to explode.
  29. More than the informational nuggets the movie flashes onscreen, these scenes of personal interaction help make “Unsettled” distinctive.
  30. The close-ups and camera movements in this version enhance the charisma of the performers, adding a dimension of intimacy that compensates for the lost electricity of the live theatrical experience.

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