The New York Times' Scores

For 15,194 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 3.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Fantasia
Lowest review score: 0 America the Beautiful
Score distribution:
15194 movie reviews
  1. Though the themes of Burden feel uncomfortably current, their execution is leaden and dismayingly artless.
  2. With a warm heart and a nonjudgmental mind, Saint Frances weaves abortion, same-sex parenting and postpartum depression into a narrative bursting with positivity and acceptance.
  3. Coogan brings his usual comic reliability to his characterization, as does Isla Fisher as the rich man’s predictably estranged wife, and they wring laughs from the material.
  4. Oppressively dark and unrelentingly intense, Blood on Her Name packs down-and-dirty performances, and a few surprises, into a tight 85 minutes.
  5. A satire of overamped gamer culture that is itself too overamped to be much fun, Guns Akimbo takes a while before it stops showing off its virtuosity — shots that turn cartwheels, frantic cutting, an onslaught of graphics — and finds a groove.
  6. You never quite buy Todd and Rory as flesh-and-blood people who could have conversations that don’t sound rehearsed.
  7. The movie doesn’t always work, but it’s never boring.
  8. Moss’s full-bore performance — anchored by her extraordinarily supple face — gives the movie its emotional stakes.
  9. It is Porumboiu’s most elaborate feature and in some ways his least ambitious. Like a meringue or like a whistle, its substance is mostly air.
  10. For patient or forgiving fans of idiosyncratic thrillers, “Disappearance” may deliver satisfactory spills and chills.
  11. This is canny, passionate filmmaking, a reminder of the power of two-dimensional animation. First, it humanizes, then it astounds.
  12. Austen’s story and words, it turns out, prove unsurprisingly durable and impervious to decorative tweaking. And so, after a while, the Anderson-ish tics become less noticeable, and both the emotions and overall movie more persuasive.
  13. Young Ahmed is suspenseful and economical, with a clear sense of what’s at stake, but something crucial — perhaps a deeper insight into the character or the contradictions that ensnare him — is missing.
  14. Vitalina Varela is socially conscious, but dreamlike, elegiac. And an inquiry, too, into the abilities and deficiencies of film as a medium to illuminate human consciousness and experience. It’s essential cinema.
  15. The trouble with this skimmed approach is that by sidelining historical analysis, the film denies its audience the best defense against distortion, a rational necessity when interpreting a conversation that often seems to happen in code.
  16. Woods, remarkably comfortable in her first film role, gives Goldie a steel spine and a feisty resourcefulness, her moments of vulnerability rare, but essential.
  17. Despite the classic David-versus-Goliath narrative, the story is never as mesmerizing as the grotesquely glam stage numbers and Imperioli’s illuminated face watching them, glowing with pride.
    • 65 Metascore
    • 50 Critic Score
    As amusing as these interludes are, they read as attempts to force an exaggerated sense of mystery into an ultimately simple and moralistic tale about the futility of vengeance.
  18. There is nothing objectionable about Michael Bully Herbig’s glossy political thriller, Balloon, but there’s nothing particularly exciting about it, either.
  19. Every moment rings true, the vividly textured locations and knockabout relationships more visited than created.
  20. This “Call of the Wild,” however defanged and updated, doesn’t lack for exciting canine brawls or tense rescues from frozen waters. It also doesn’t lack for an almost soothing corniness.
  21. The director, Masaaki Yuasa, is adept at stories and visuals where water is a major character.
  22. You can’t beat the access or the clips, although the absence of Hudson (whom Roher apparently filmed) from the present-day interviews is peculiar. His voice might have provided a valuable counterpoint to Robertson’s recollections.
  23. Mandela did not die before effecting a huge change in his still-traumatized country. This movie sheds a valuable light on his struggle.
  24. The idea that a charlatan might offer more solace than a real priest is a trite concept, but it’s one that Corpus Christi portrays with conviction. The movie rests on the shoulders of Bielenia — or rather, in his eyes, which photograph as a chilling gray.
  25. This is all interesting from a pro-am cinema semiotics perspective, but none of it is in the least bit scary. This, really, is what happens when you take all the wrong lessons out of film school.
  26. There are some jokey parts, some weepy bits, a sexy moment and a few fine displays of anger from Louis-Dreyfus, but they’re all just thrown together like salted nuts and cheap candies in a snack mix.
  27. The sparks fly fast and persuasively — Rae and Stanfield make sense right away — and you’re soon cozying up with the couple while they share stories and increasingly heated looks in a dimly lit restaurant. The writer-director Stella Meghie understands that you want to see these two beautiful people get together, and she smoothly delivers on your own romantic (and romance genre) longings.
  28. The big problem with the movie isn’t the muddle, but the strain.
  29. Simultaneously rowdy and slick, Buffaloed is exuberantly paced and entirely dependent on Deutch’s moxie and pell-mell performance.

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