The New York Times' Scores

For 14,118 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 The Black Panthers: Vanguard of the Revolution
Lowest review score: 0 Strippers
Score distribution:
14118 movie reviews
    • 73 Metascore
    • 80 Critic Score
    If, however, you can tune out even a little of the background noise, you’ll find an immersive, empathetic film that speaks the language of tolerance without getting preachy.
  1. The movie intersperses observations and speculations on Welles’s life and work with long looks at his graphic pieces. These are fascinating.
  2. Randau’s script, though, is an implacable plod from one bashing to another.
  3. John Conroy’s cinematography hustles and heaves, straining to inject a vitality that the story too often lacks. Yet whether in the kaleidoscopic warmth of Jamaica or the gray chill of London, Yardie’s sunlight-filled songs will make your toes twitch.
  4. An old-fashioned wartime romance whose plot highlights are recognizable from outer space, this gleaming dollop of prestige comfort food is neither logically coherent nor emotionally satisfying.
  5. This movie packs in plenty of cinema acrobatics and spectacle without ever feeling out of control, even as it morphs into a far-fetched whodunit.
  6. In watching a newly restored version, I was struck not only by Björk’s distinctive charisma at 24 years old but also by the talent of the film’s writer, director and editor, Nietzchka Keene.
  7. Leaning in to the style its patchwork of source material requires, Combat Obscura, is an eye-opening dispatch from a conflict mired in confusion.
  8. As the geological, financial and personal barriers the cousins face grow increasingly absurd, the movie works up a satisfying sweat.
  9. The Mustang is direct and almost perilously familiar — it draws from both westerns and prison movies — yet it is also attractively filigreed with surprising faces, unusual genre notes and luminous, evanescent beauty.
  10. This isn’t an especially good movie — it’s too long, too drenched in Thomas Newman’s cloyingly eclectic score, too full of speechifying and self-regard — but it is a coherent one, with the courage of its vengeful, murderous, politically terrifying convictions.
  11. Although its protagonist is blessed with a gift for engineering the impossible, Wonder Park is a film where faulty execution betrays a healthy imagination.
  12. Richardson, previously wonderful with good material (“Columbus,” “Support the Girls”), here cements her genius status by finding depths beyond the contrived screenplay.
  13. Enthralling.
    • tbd Metascore
    • 80 Critic Score
    Although Juanita teeters off track a bit with the chef’s half-baked back story, it soars when it allows its lead to explore the complexities of love and unbridled joy. And Woodard completely owns it.
  14. Mouret manipulates our sympathies effortlessly as the story zigzags its way from there to its ultimately surprising and quite satisfying resolution.
  15. All of that observation in Babylon amounts to something that still feels new. You’re looking at people who, in 1980 England, were, at last, being properly, seriously seen.
  16. An immersive, pleasurably intelligent movie, one that weds documentary naturalism and melodramatic excess with formalist rigor.
  17. As a performer, Moore can go big, and a terrible yowl here pierces the heart. But she’s a virtuoso of restraint. She shows you the rush of emotions just before they break the surface, so the hurt and confusion flicker on her face like minute shifts of light.
  18. While the film aspires to a clipped complexity, it comes across as gimmicky and amateurish — a chain of miseries passed off as tough truths.
  19. Set in the American Southwest in 1879, The Kid feels less like an actual movie than a table-napkin idea for one.
  20. Ethereal, intensely moving.
  21. The mode of humor is close to cliquish anticomedy, and viewers not attuned to it may feel like there’s a joke they’re missing.
    • tbd Metascore
    • 50 Critic Score
    It’s an anodyne fan flick that casts only furtive glances in Ferrante’s direction, as if the filmmaker, Giacomo Durzi, were a reverential subject who doesn’t dare to make eye contact with the queen.
  22. In its poetic, elliptical, concise way, this film makes a grand statement: The black mother is the mother of life itself. And the gaze directed at the black faces and bodies in “Black Mother” is not a male gaze, or a documentarian’s gaze. It is a gaze of love.
  23. Unsparing as Hu’s anatomy of moral drift may be, there is something graceful in his sympathetic attention to lives defined almost entirely by disappointment and diminished hope. Unlike the titular elephant, the film never stops moving, and by the end, instead of feeling beaten down, the viewer is likely to feel moved as well.
  24. Chandor handles the action scenes smoothly, making it easy to gloss over what the movie is saying, trying to say or accidentally saying. He maintains the kind of accelerated pace that gives your eyes a workout, and pads the story with an inviting camaraderie that brings you into the group.
  25. It’s pretty good fun, and could almost be described without sarcasm as a scrappy little picture, like most of Boden and Fleck’s other work.
    • tbd Metascore
    • 70 Critic Score
    Targarona began as an actor before becoming a producer and, finally, a director. The Photographer of Mauthausen is her second feature, but if feels like the work of an old pro — vivid, involving and frequently terrifying.
  26. What Perry lacks in filmmaking rigor — like its predecessors, “Family Funeral” is a bit of a mess, formally and technically — he makes up for in generosity. The movie is the usual plateful of low humor and high melodrama, in no particular hurry to make its way through a busy plot.

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