The New York Times' Scores

For 13,801 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 3.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Milla
Lowest review score: 0 A Little Bit of Heaven
Score distribution:
13801 movie reviews
  1. Vox Lux is an audacious story about a survivor who becomes a star, and a deeply satisfying, narratively ambitious jolt of a movie.
  2. It looks beautiful and moves swiftly but never quite takes full imaginative flight.
  3. Although the first hour of Bitter Melon is a spiky and absorbing story of repressed feelings, the movie grinds to a halt in its final third as the characters talk things out, which might be helpful in life but in drama tends to belabor the obvious, as well as offer an easy exit.
  4. Kristin Hahn’s script gives Will sassy lines and too many tears, but the filmmakers never give this character a real, searching, complex inner life. They give her problems to solve, hurdles to clear. They turn emotional complexity into affirmations and a potentially transformational character into a you-go-girl cliché.
  5. Although the film has no grand cinematic ambitions, its unsensationalized focus on these aging bodies invites welcome kindness.
  6. Gillan plays her messy, mournful role with unfussy integrity. The movie does not stray beyond the borders of the modest character study, but within those parameters, it’s accomplished and impressively straightforward.
  7. Some of the details about female characters that Silver and the screenwriter Jack Dunphy choose to foreground...indicate that the filmmakers share with their male characters a strain of artsy-bro misogyny. The movie is nevertheless striking and stimulating in some respects.
  8. It conveys a credible sense of Ailes’s psychology through the testimony of peers and co-workers who witnessed his ruthlessness firsthand.
  9. Unfortunately the pace is so relaxed as to be meandering; and Jay Zaretsky’s screenplay is cliché-packed.
  10. It’s hard to untangle the film’s many bizarre indulgences, which at times seem intended to titillate as much as disturb, and yet somehow do neither. It’s all a bit too ludicrous to be sensuous or unsettling, or ultimately all that insightful.
  11. Ben Is Back is really Holly’s story, and notwithstanding the all-around excellence of the cast, it’s very much Roberts’s movie. This isn’t a matter of ego or showboating. On the contrary, what is so moving and effective about Roberts’s work here is her shrewd subversion of her long-established persona.
  12. To go with its bizarre plotting and shrill performances, the film seems to have been edited in a Cuisinart. But those are the least of its crimes.
  13. The stranger Tyrel gets, the more accurate it feels. The ecosystem of behaviors and attitudes on display is so unnervingly sharp that some of us may well find ourselves wincing in recognition.
  14. It’s impressive that Alami can put all this across — romance, suspense and, in the moving final act, a kind of tragedy — and maintain the movie’s nimbleness. But he’s a natural storyteller.
  15. You get both the most lovely gaze a professional camera’s ever laid upon Aretha Franklin and some of the mightiest singing she’s ever laid on you. The woman practically eulogizes herself. Don’t bother with tissues. Bring a towel.
  16. Neither remotely credible nor more than minimally entertaining, Stacy Cochran’s New York City romance, Write When You Get Work, presents rich folk as gullible idiots and blue-collar crooks as heroes.
  17. Van Rooijen’s overreliance on herky-jerky jump scares is a pity, because the movie that exists in the silence is surprisingly satisfying.
  18. What Lieberstein has made is a self-help manual disguised as a comedy.
  19. New evidence for the case that computer animation is homogenizing children’s movies, robbing them of visual interest, this harmless, charmless movie plods along well-trodden turf.
  20. You don’t wait for what comes next in People’s Republic of Desire as much as you watch and wonder why any of it is happening. That sensation arises often in this canny documentary about a baffling topic.
  21. Fowler’s film is made up of familiar documentary components: archival footage, reminiscences by friends and readings of the subject’s letters. But these are ordered in a way that is less concerned with telling a story, or explaining Bartlett’s life, than with evoking his qualities of erudition, curiosity, enthusiasm, care and sometimes anger.
  22. In prioritizing Crowhurst’s psychological frailty over his physical challenges (both conveyed more evocatively in the excellent 2007 documentary “Deep Water”), Firth and his director find something quietly touching, even soulful, in the character’s wretchedness. In this somber tragedy, the real demons are never anywhere but right inside that boat.
  23. This is a passion project in the best sense of the word, a movie in which the ingenuity and dedication of the filmmakers illuminate the same qualities in their subjects.
  24. Fluctuating between the minor daily occurrences of Kun’s life and his touching sojourns into the past and the future, Hosoda’s film privileges moments of emotion over belabored story mechanics. Thus, it gathers complexity without sacrificing any of its guileless modesty.
  25. This beautifully realized movie casts a sensitive, secretive spell.
  26. This is not a perfect film, and features maybe one wild night too many. But its outlook — optimistic about human nature yet cynical about the times — lingers.
  27. Anna and the Apocalypse is more sketch than developed movie. Directed by John McPhail from a script by McHenry and Alan McDonald, the movie is thinly plotted, its pacing slack, its staging uninspired; Anna remains merely an idea for a plucky heroine, despite Hunt’s smile and sweat.
  28. A rich sense of mystery pervades this movie. You succumb to its strangeness the way that a child is enveloped in a bedtime story, trusting the teller even when you don’t fully understand the tale or know where it’s going.
  29. This film adheres to Rams’s aesthetics by being brisk, matter of fact, well lighted and composed of clean lines, metaphorically speaking. Brian Eno’s score, which he recorded as a series of discrete compositions, adds to the movie’s linear elegance.
  30. The filmmakers are clearly trying to bring an uncommon maturity to the fantasy film, and in many respects they succeed. While not everything here works, what does is impressive.

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