NPR's Scores

  • Movies
For 1,000 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 4.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Stories We Tell
Lowest review score: 0 This Means War
Score distribution:
1,000 movie reviews
  1. Kaplan keeps the story breezy and brisk, and provides his down-to-earthily modern fairy tale with an appropriately other-worldly visual style.
  2. Director Saul Dibb, presumably knowing that this is pretty standard stuff for a costume epic, occupies us not just with the usual visuals -- of his star drifting through exquisitely furnished estates, draped in rich silks and brocades -- but also with some intriguingly offbeat sights.
  3. Moore is always watchable, Ruffalo and Bernal get a nice rivalry going without ever establishing eye contact (as it were), and Danny Glover has some nice moments in an underdeveloped part as an older man who finds, to his benefit, that love is blind.
  4. Doubt cast a long moral shadow on Broadway but seems blunter on screen, largely because Shanley's fussy directorial notions ... are less nuanced than the religious and moral arguments he's given his principal characters.
  5. Like the decent B-movie director that he is, Hyams tosses in two gripping car chases and blows up a few more vehicles for good measure. But otherwise, there's little in this pointless rehash to distract audiences from the pleasure of watching Tamblyn.
  6. A preachy parable of suburban discontent, Shorts probably has enough kid-oriented slapstick to please the under-12 set. But it's not likely to rival writer-director Robert Rodriguez's "Spy Kids" series in long-term appeal.
  7. The movie is, as these things go, enjoyably trashy.
  8. In short, Ritchie's come up with precisely what you'd expect of him — a pumped-up, anachronistically modern Sherlock Holmes designed for the ADD crowd. Expect a sequel. Or six.
  9. The "casi" in Casi Divas translates to "almost," and it's an appropriate word for the film as a whole.
  10. The effect is weirdly lulling. Viewers with a special connection to this story, or a weakness for little boys and single dads, may find The Boys Are Back moving. For everyone else, the movie is merely picturesque.
  11. For a hymn to panic and hostility, the movie is curiously artful. But only the most sympathetic viewers will find that its poetry outweighs its belligerence.
  12. Thanks to his major role in songwriting, Krieger is credited repeatedly, but the other two players recede as the band increasingly becomes The Jim Morrison Show.
  13. Behind the Burly Q traces that history all the way back to the early part of the 20th century, but doesn't really come into its own until Zemeckis can interview the stars themselves rather than their children.
  14. Here and There has been compared to such Jim Jarmusch films as "Stranger Than Paradise," and "Lungulov" does emulate Jarmusch's deliberate pace, minimal dialogue, deadpan humor and strong sense of place. In fact, Belgrade is the movie's most compelling character, its tattered charm underscored by back-street New York locations that oddly evoke Eastern Europe.
  15. Triumph seems the wrong note for a feature film about mass murder. Yet Gallenberger insists on an old-school historical melodrama, with the darkest of terrors leavened by humor, tenderness and even romance. It's only the terror that rings true.
  16. There are better special effects than last time, and Bella gets to be brave when it counts. All of which should be like a freshly opened vein for fans -- especially as it results in Eclipse ending up almost exactly where it started, with weddings still to come. Can you wait?
  17. Oddly, Countdown to Zero ends by suggesting that viewers get those nukes abolished by texting their disapproval to a phone number listed in the credits -- as if the governments of China or North Korea (or the United States, for that matter) are just waiting for a gentle rebuke from civic-minded documentary viewers.
  18. A skilled cast is Blakeson's greatest asset in his attempt to elevate his material above its pulpy limitations. All three are better actors than this sort of movie might call for.
  19. As "Blood Simple" fans should expect, Noodle Shop is a comedy of presumed deaths and unexpected revivals, with some victims flat out refusing to stay in their shallow graves.
  20. The deliberate pace may suggest that the film is being thoughtful, but Let Me In is really just an exploitation movie with the confidence to take it slow.
  21. Freakonomics' commercial success reflected the once-fashionable notion that economics could explain, well, everything.
  22. It's as if everyone involved in the film figured they could keep Hereafter from turning ghost-story hokey by making it grounded, beautiful and matter-of-fact. And it sort of works. There are no inadvertent giggles here; it just doesn't add up to enough, after.
  23. The movie is crisp and contemporary enough to inaugurate another franchise for Statham.
  24. The broad comedy clashes with the movie's final message: that 6,000 girls face genital mutilation every day.
  25. The only character who stands out is a relentlessly clowning man-child named Taloche (James Thierree), but only as a symbol for the irrepressible spirit of an entire people.
  26. Based on its thrillingly fractured first half - not to mention "Moon" in its entirety - Jones seems much smarter than he allows the film to be in the end. It wriggles out of its own intriguing puzzle.
  27. The movie has more sensibility than sense, but it seems cunning next to such silly tough-girl fare as "Kick-Ass" and "Sucker Punch."
  28. Historical records being what they are, the filmmakers are forced to speculate about certain things, but where facts are known they generally adhere to them.
  29. The dude with the blond mane and bulging biceps clearly owns that hammer. And when the screenplay gives him something besides arrogance to work with, he owns the movie too.
  30. An entertaining concert film, but not an incisive character study.

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