The New York Times' Scores

For 13,823 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 Eighth Grade
Lowest review score: 0 Elite Squad
Score distribution:
13823 movie reviews
  1. Capernaum, a sprawling tale wrenched from real life, goes beyond the conventions of documentary or realism into a mode of representation that doesn’t quite have a name. It’s a fairy tale and an opera, a potboiler and a news bulletin, a howl of protest and an anthem of resistance.
  2. Something feels off with von Trier’s sense of artistry now. Something feels stuck, like his head’s wound up lodged in his rear, which brings the movie closer to “The Human Centipede” than I would have thought. But this isn’t cinematic horror. It’s proctology.
  3. The story shifts and lumbers toward redemption that Earl doesn’t earn and that sentimentalizes a movie that is never especially good and often teasingly offensive but also fitfully entertaining and willfully perverse.
  4. The more time Khaled’s camera takes to wend its way around Hassane’s suspended body, the more its caresses seem to match all the embracing and caressing Hassane’s friend does. And the more time the movie devotes to the parts of this one man’s body the more that care seems to stand in for a country’s neglected whole.
    • 73 Metascore
    • 70 Critic Score
    The young director Romain Gavras does not reinvent the comic caper in the French film The World Is Yours, but he revitalizes that genre with pop verve, goofy humor and visual sophistication. A flamboyant turn from Isabelle Adjani doesn’t hurt either, with the star sending up her own image as an aloof leading lady.
  5. Along with the loving portraiture are elements of peculiar mystery.
  6. Despite its intense running time and disturbing subject matter, Dead Souls does not seek a complete accounting. In fact, it’s partly about the inability to convey the full horror of these experiences.
  7. It’s never boring but a trifle diffuse. If you’re a Miyazaki fan, you’ll want to see it anyway.
  8. Ghostbox Cowboy feels like a William Gibson adaptation directed by David Lynch and Jean-Luc Godard — while not directly lifting from or nodding to those artists. It’s rare that a release so late in the year is so noteworthy, but this is a genuine find.
  9. This film lays bare how the American health care system seems designed, at every level, to fail the mentally ill and those who try to be of genuine service to them.
  10. The squelching of promise is not my worst (cinematic) fear, per se. But it’s still disappointing.
  11. Spider-Man: Into the Spider-Verse contains a vital element that has been missing from too many recent superhero movies: fun.
  12. When Jenkins is true to himself, he soars; he stumbles, though, when he’s overly faithful to the novel or doesn’t trust the audience.
  13. As these things go, Mortal Engines offers a fair amount of fun.
  14. Vox Lux is an audacious story about a survivor who becomes a star, and a deeply satisfying, narratively ambitious jolt of a movie.
  15. It looks beautiful and moves swiftly but never quite takes full imaginative flight.
  16. Although the first hour of Bitter Melon is a spiky and absorbing story of repressed feelings, the movie grinds to a halt in its final third as the characters talk things out, which might be helpful in life but in drama tends to belabor the obvious, as well as offer an easy exit.
  17. Kristin Hahn’s script gives Will sassy lines and too many tears, but the filmmakers never give this character a real, searching, complex inner life. They give her problems to solve, hurdles to clear. They turn emotional complexity into affirmations and a potentially transformational character into a you-go-girl cliché.
  18. Although the film has no grand cinematic ambitions, its unsensationalized focus on these aging bodies invites welcome kindness.
  19. Gillan plays her messy, mournful role with unfussy integrity. The movie does not stray beyond the borders of the modest character study, but within those parameters, it’s accomplished and impressively straightforward.
  20. Some of the details about female characters that Silver and the screenwriter Jack Dunphy choose to foreground...indicate that the filmmakers share with their male characters a strain of artsy-bro misogyny. The movie is nevertheless striking and stimulating in some respects.
  21. It conveys a credible sense of Ailes’s psychology through the testimony of peers and co-workers who witnessed his ruthlessness firsthand.
  22. Unfortunately the pace is so relaxed as to be meandering; and Jay Zaretsky’s screenplay is cliché-packed.
  23. It’s hard to untangle the film’s many bizarre indulgences, which at times seem intended to titillate as much as disturb, and yet somehow do neither. It’s all a bit too ludicrous to be sensuous or unsettling, or ultimately all that insightful.
  24. Ben Is Back is really Holly’s story, and notwithstanding the all-around excellence of the cast, it’s very much Roberts’s movie. This isn’t a matter of ego or showboating. On the contrary, what is so moving and effective about Roberts’s work here is her shrewd subversion of her long-established persona.
  25. To go with its bizarre plotting and shrill performances, the film seems to have been edited in a Cuisinart. But those are the least of its crimes.
  26. The stranger Tyrel gets, the more accurate it feels. The ecosystem of behaviors and attitudes on display is so unnervingly sharp that some of us may well find ourselves wincing in recognition.
  27. It’s impressive that Alami can put all this across — romance, suspense and, in the moving final act, a kind of tragedy — and maintain the movie’s nimbleness. But he’s a natural storyteller.
  28. You get both the most lovely gaze a professional camera’s ever laid upon Aretha Franklin and some of the mightiest singing she’s ever laid on you. The woman practically eulogizes herself. Don’t bother with tissues. Bring a towel.
  29. Neither remotely credible nor more than minimally entertaining, Stacy Cochran’s New York City romance, Write When You Get Work, presents rich folk as gullible idiots and blue-collar crooks as heroes.

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