The New York Times' Scores

For 14,964 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 My Journey Through French Cinema
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
14964 movie reviews
  1. At the very least, it’s impossible to watch The Disappearance of My Mother without a measure of ambivalence. Gratitude for the chance to make Barzini’s acquaintance, and for Barrese’s sensitivity in making the introduction, is accompanied by ethical queasiness.
  2. This is less a chronicle of forbidden desire than an examination of how desire works. Like a lost work of 18th-century literature, it is at once ardent and rigorous, passionate and philosophical.
    • 76 Metascore
    • 50 Critic Score
    Bustamante renders the film’s distinct milieus with extraordinary texture. The sanitized and soulless spaces of Pablo and his family form an evocative contrast with the lively, bustling bars and streets frequented by Francisco. But this emphasis on sensory detail comes at the cost of the big picture.
  3. Shot mostly in black and white and with an improvisational feel, My Friend the Polish Girl is cool and clever, feigning social realism with winking calculation.
  4. Ly shows command of staging and shooting throughout, simulating documentary form while maintaining a tight grip on narrative coherence.
  5. The forbidden romance has its will-they-or-won’t-they thrills, but this first feature by the directors Amp Wong and Ji Zhao, becomes a basket of tangled snakes when Blanca faces far too many obstacles.
  6. [A] hardly epochal but largely pleasant documentary.
  7. It is easier to like Feast of the Epiphany as an idea for an uncompromising film than it is to reconcile its pretensions.
  8. After Parkland is not easy to watch, and certain choices (of images, of music) could be construed as calculated. But the movie succeeds where it counts: showing the reverberations of violence long after most cameras left.
  9. As a trio, Viance, Zaghouani and Pellizari are bright and full of energy, and Gourmel allows their scenes together to play with improvisational looseness. Their vivacity lends purpose to the entire film.
  10. The pace is too rapid for any nonexpert to absorb or glean the significance of all the details, which Périot generally leaves unexplained. But this documentary is fitfully thought-provoking, and particularly good at illustrating political fault lines of the time.
  11. This isn’t a groundbreaking documentary, but it does pay its subjects the ultimate courtesy, treating them as officials have not: as fully rounded human beings.
  12. Filmed almost entirely in real time, and using a series of long, intimate takes, “The Body Remembers” is about privilege and its lack, motherhood and its absence, race and its legacy.
  13. It is manifestly unfair to compare the work of a near-universally admired auteur to an odd, ambitious independent film, but Knives and Skin owes so much to David Lynch, particularly “Twin Peaks,” that it feels wrong to pretend it exists in a vacuum.
  14. The result is a sometimes punishingly theatrical experiment that teeters on the verge of surreality, transfixing us with the promise of something terrible lurking just beyond those ratty curtains.
  15. Another ruin-and-rehab tale, one that initially tantalizes then flatly disappoints.
  16. It’s a striking, human portrait of men in trouble, looking for escape and possibly redemption.
  17. What starts as a mediocre psychological thriller finishes as a surprisingly toothsome and creative horror film, complete with creature features and journeys into the abyss.
  18. Little Joe manages to exert a peculiar pull in spite of being constructed with material you’ve likely seen elsewhere.
  19. The film spaces out several nasty and effective frights. And as its narrative seems to deliberately devolve into a dissociative dream, even the funny material hits with a choke in the throat.
  20. Gorgeous and goofy, fanciful and unrepentantly old-fashioned, this Victorian adventure (it’s set in 1862) delights much more when its head is in the clouds than when its feet are on the ground.
  21. As it is, it’s the best non-Miyazaki, non-Takahata Ghibli feature. A girl prevents a cat from getting crushed by a truck and gains favor with a nocturnal kingdom of hipster felines, in a story with echoes of Alice in Wonderland and the novels of Haruki Murakami.
  22. Johnson’s own sleight of hand is estimable, even if his effort to add politics into the crowded mix rings hollow. The machine is what matters here, and he has clearly had such a good time engineering it that it’s hard not to feel bad when you don’t laugh along with him.
  23. There’s great pleasure in revisiting this series, seeing who turned out just fine and sometimes better than you might have expected or hoped.
  24. The actors draw out both the spiritual and the psychological dimensions of their characters. The interplay, a duet with sweet and eccentric harmonies, is fascinating to observe, even as it undermines the overall structure of the narrative.
  25. The film fumbles some of its big gestures and over-italicizes a few statements. What lingers, though, are strains of anger, ardor, sorrow and sweetness, and the quiet astonishment of witnessing the birth of a legend. This movie feels like something new, and also as if it’s been around forever, waiting for its moment.
  26. The ensuing adventure is lively, amusing and predictably predictable with revelations, reconciliations and some nebulous politics for the grown-ups. It’s never surprising, yet its bursts of pictorial imagination — snowflakes that streak like shooting stars — keep you engaged, as do Elsa and Anna, who still aren’t waiting for life to happen.
  27. It’s not only Mister Rogers’s kindness that hovers over “Beautiful Day,” but also his creative spirit. Paying tribute to his skills as a composer, performer and puppeteer, the movie affirms his status as a hero of the imagination.
    • 68 Metascore
    • 70 Critic Score
    This haunting documentary is a powerful addition to a growing body of post #MeToo films — including “Finding Neverland” and “Surviving R. Kelly” — that show how cultural power is accumulated and weaponized.
  28. You do feel Haynes’s touch now and again, particularly in the sense of menace that seeps into a crepuscular law office and in the everyday eeriness that suffuses outwardly ordinary homes that are anything but normal.

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