The New York Times' Scores

For 14,695 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 Synecdoche, New York
Lowest review score: 0 Don't Tell
Score distribution:
14695 movie reviews
  1. This is an exemplary, moving, show-don’t-tell record of family tenacity.
  2. If evacuating cinema means engaging with the medium’s properties in only the silliest ways — mismatching subtitles with images and voices with speakers — Price certainly does that.
  3. Appealing, partly because it’s so unembarrassed by its genre's done-to-death social-injustice themes, this undercooked blend of science fiction and family drama virtually dares you to turn up your nose.
  4. The film’s deaf subjects feel creatively and philosophically shortchanged.
  5. Hammond, who describes his face as so bland that it becomes a canvas for so many others, emerges as a riveting, eccentric character: Fragile, lyrical and haunted, like a doomed figure out of Tennessee Williams.
  6. Not even a month after the John Travolta travesty “The Fanatic” seemed to have secured the title of Worst Film of 2019, up comes this movie to overtake it. By several lengths.
  7. Ms. Purple is a moody, downbeat drama soaked in color and saturated with sadness.
  8. It uses animation to depict a conflict in fresh dimensions.
  9. Making the most of his limited budget, not unusual for the prolific Fessenden, he has produced possibly his most coherent and visually polished work to date. The makeup effects and lead performances are excellent, and Fessenden’s signature cheek (two strip-club employees are called Stormy and Melania) never tips into silliness.
  10. The Sound of Silence wants to be heard, but, in the end, doesn’t have much to say.
  11. It’s frustrating to see such a sophisticated cinematic apparatus used in the service of such muddled half-ideas.
  12. While cuddling up to the adored one is a familiar biographical tactic, some critical distance might have made for a deeper, stronger movie.
  13. Schimberg’s film is odd, darkly funny and — when it means to be — a little frightening.
  14. It looks and sounds like a movie without quite being one. It’s more like a Pinterest page or a piece of fan art, the record of an enthusiasm that is, to the outside observer, indistinguishable from confusion.
  15. The spirit of Hustlers is so insistently affirmative and celebratory that all kinds of interesting matters are left unexplored.
  16. A close-range film about distance, the short, poignant documentary “I’m Leaving Now” unfolds like a character study.
  17. The comedy-horror film Satanic Panic is the kind of movie that revels in the details of eviscerations and demonic orgies. With jovial bad taste and a bag of gruesome tricks, the director Chelsea Stardust cheerfully invites her audience to hail Satan.
  18. The movie looks and sounds great, but greatness and depth elude it.
  19. The political intelligence and matter-of-fact feminism that emerge in this portrait are among its most intriguing aspects. Her cleareyed, down-to-earth thoughts on her profession, her family and American culture (musical and otherwise) make her someone you want to know better.
  20. "Heading Home” is not a movie with much interest in geopolitics. It roots, roots, roots for its home team — and does little more.
  21. The interactions between these real-life characters are here recalled with fondness and rue by the surviving participants. Taublieb’s approach is straightforward, but also a little pedestrian.
  22. Hancock is wasted here, as are the meaty dramatic threads that Elizabeth O’Halloran’s formulaic screenplay never bothers to pull.
  23. Caught between a hero with no personality and a villain with way too much (Fletcher’s slobbering performance has to be seen to be believed), Raymond comforts himself with shots of people gazing pensively at clues and pulling grisly things from drains.
  24. The tale is a jolting one, and the superb players do justice to the emotional distress of its characters. But a surer directorial hand might have yielded a more resonant experience.
  25. The movie is at its most engaging when examining the near-monopolies controlling chicken farmers in the United States.
  26. Jinn may end a little too neatly after challenging so many of the conventions of its genre, but it’s easy enough to look past.
  27. The movie’s truth is presumably meant to rest in its emotions, in the spilled tears of its characters, but the only things at stake here are the cozy sniffles of the art-film patron.
  28. This 2-hour-49-minute movie drags more than it jumps, wearing out its premise and possibly also your patience as it lumbers toward the final showdown. Along the way there is some fun — some scares, some warm feelings, some inventive ickiness — to be found.
  29. The movie is crisply, sometimes stylishly shot (Madhie did the cinematography), but it’s too muddled to be slick and too lacking in charm to establish any emotional stakes.
  30. More of a raspberry than a reboot, The Banana Splits Movie, available to buy (and later to rent) on multiple digital platforms, is far less crazy than it wants to be and far more soporific than a synopsis would suggest.

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