The New York Times' Scores

For 13,624 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 Norte, the End of History
Lowest review score: 0 Equilibrium
Score distribution:
13624 movie reviews
  1. Like its hero, Mid90s struggles to figure out what it wants to be, and the struggle makes it interesting as well as occasionally frustrating.
  2. The movie’s challenge is to bottle her spontaneity, which is clearly thrilling to behold in person but less dynamic in a medium that requires every move to be selected in advance, without the suspenseful bond that an artist shares with a live audience. Belmonte gets caught between two modes of nonfiction filmmaking.
  3. While the story plays a bit with the notion of the supernatural, the spirit foregrounded here is more tangible: an ominous sense of restlessness and curtailed dreams.
  4. Beckermann wants not so much to contextualize as to invoke — with the hope, perhaps, that placing us in the middle of this debate will create its own context.
  5. Programmatic and groaningly trite, What They Had, the debut feature from Elizabeth Chomko, would be impossible to swallow without its star-studded cast. Even so, it requires all their considerable skills to stop this soapy family drama from sliding into complete banality.
  6. Unfolding in real time, this immediately involving story bends and turns in surprising, sometimes horrifying ways. Enriched by Oskar Skriver’s marvelous sound editing, which takes us from a speeding van to a bloodcurdling crime scene with equal authenticity, the movie smoothly blends police procedural with character study.
  7. The filmmakers, who made “Leviathan,” the striking 2012 immersion into commercial fishing, seem to be arguing that Sagawa needs to be understood beyond moralistic preconceptions. Caniba did not make the case for me. I consider Sagawa repellent, and the movie an exercise in intellectualized scab-picking.
  8. Alexandria Bombach’s direction and editing are exceptional; she captures images that are both subtle and formidable. Her film is, first and foremost, a profile of Murad and her mission. Yet it’s also a comment on the media and on government aid.
  9. Wildlife is a domestic drama both sad and terrifying. The entire cast does exceptional work (Oxenbould is an exciting find), but the movie is anchored by Mulligan, who gives the best performance of any I’ve seen in film this year.
  10. In Grace’s stifling house, the electricity is dicey and the internet nonexistent. There isn’t a shower or extra bed. Just the third-world glaze of sweat and privation you see everywhere in this richly endowed land of economic imbalance, an atmosphere the film, Faraday Okoro’s feature debut, captures expertly.
  11. With shadowy imagery that pushes the boundaries of visibility and a mumbly lead performance from Ben Foster that strains the limits of intelligibility, Galveston goes past film noir and lands at film murk.
  12. This isn’t a wisecracking, tongue-in-cheek picture: Green wants us to believe in his Bogeyman, and Curtis is his ace card. Leaving no room for winks or giggles, she makes Laurie’s long-festering terror the glue that holds the movie together.
  13. Ferguson’s narrative is so dense and complicated, and at the same time so dramatic, suspenseful and clear, that it absorbs all of your attention.
  14. While the last third of Butterfield’s life is tragic, spending the better part of 90 minutes with the man and his music is exhilarating. The picture may get at least a few people talking about him again.
  15. The film captures up close the way violence transforms neighborhoods and families with an immediacy that transcends headlines or sensationalism.
  16. Partly because the movie is so splendidly and completely absorbed in its characters and their milieu, it communicates much more than a quirky appreciation for old books and odd readers.
  17. While this colorful and inquisitive cinematic essay on the state of the art world is occasionally skeptical and consistently thoughtful, cynicism isn’t really on its agenda.
  18. It reminds you of an extraordinary feat and acquaints you with an interesting, enigmatic man. But there is a further leap beyond technical accomplishment — into meaning, history, metaphysics or the wilder zones of the imagination — that the film is too careful, too earthbound, to attempt.
  19. Goddard keeps everything smoothly, ebbing and flowing as the characters separate and join together, but at some point during this logy 2-hour-and-21-minute exercise you want something more substantial than even Hemsworth’s admittedly mesmerizing snaky hips.
  20. Fluidly capturing the trajectory of a ruinous obsession, the writer and director, Sara Colangelo, skillfully fudges the line between mentoring and manipulation, and between nurturing talent and appropriating it. Suffusing each scene with an insinuating, prickly tension, she remains ruthlessly committed to her screw-tightening tone, offering the viewer no comforting moral escape hatch.
  21. Classical Period is often very funny, but it’s also poignant, imagining a milieu — part heaven, part purgatory — in which daily lives can be devoted to pondering the aggregated wisdom of the past.
  22. Lynskey and Schloss are well matched as mother and daughter, and Griffiths builds a relationship between them as this far-from-innocent teenager navigates her world. That rough journey is worth watching even when this film falls short.
  23. By making you feel deeply for his sister and her children, Valdez has fashioned his film to make the lapses less glaring.
  24. White and Monroe demonstrate natural chemistry, and they discretely suggest the private experiences of their characters, the youthful doubts that can’t be extinguished by passion. In unpretentious fashion, After Everything portrays the bittersweetness of a first love that blooms in crisis.
  25. Reports of excessively punitive training of female gymnasts surface with some regularity, so in that sense Over the Limit is not unexpected. But the Polish director Marta Prus, brilliantly constructing a very particular look at a sport in which the arch of an eyebrow is as important as that of a spine, remains coolly impassive.
  26. Bikini Moon is better in separate scenes than as a whole, where Manchevski’s overreaches and plot lapses become more glaring. In this film, the harshest truths — make that “truths” — are best served in small doses.
  27. Hyams directs Timothy Brady’s script appropriately if not brilliantly (Hyams is also credited as a co-editor), but the movie’s main attraction, finally, is its cast.
  28. It’s a film of scenes rather than of one unified narrative, but each scene is a showcase for the magnificent talents of Ms. Balibar, a multifaceted performer of spectacular magnetism and intelligence.
  29. It was said by many after the 2016 election that the Trump administration would yield great satirical art. This is not an example of that.
  30. It is hard not to be touched by the testing of paternal love, or by Nic’s fragility. But Beautiful Boy, rather than plumbing the hard emotional depths of its subject, skates on a surface of sentiment and gauzy visual beauty.

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