NPR's Scores

  • Movies
For 1,043 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 4.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Mr. Turner
Lowest review score: 0 This Means War
Score distribution:
1,043 movie reviews
  1. Feels from start to finish like a throwback to the action cinema and military thrillers of decades past.
  2. A disastrous father-son endeavor about a calamitous father-son expedition, After Earth doesn't play to the strengths of any of its major participants.
  3. First-time feature director Peter Billingsley could have enlivened the action with more vigorous editing. Everything takes too long, and the slapstick sequences are particularly lethargic.
  4. Indeed, despite occasional attempts at plot and character, this is basically a roast with scenery.
  5. The overused homages and a tacked-on twist ending are just failed attempts to save Repo Men from its own shallow blood lust.
    • 22 Metascore
    • 30 Critic Score
    At its heart, Garry Marshall's New Year's Eve is soup made of rocks.
  6. Without the humor, the stereotypes that define these characters aren't satirical; they're just mean-spirited and dull.
  7. If it's about anything at all, the lame new comedy All About Steve is mostly about Mary, a logorrheic crossword compiler with too much arcane information in her head -- and the social skills of an excitable 6-year-old boy.
    • 39 Metascore
    • 30 Critic Score
    None of it is inherently funny - as evidenced by how many scenes depend for a punchline on Hill swearing at one child or another.
  8. What possessed Liv Tyler to take a role in this sadistic, unmotivated home-invasion flick.
    • 51 Metascore
    • 30 Critic Score
    Tragically unfunny, Frankie is occasionally elevated by some of its gifted and game cast, but the film's nasty, comedically incoherent script limits its potential.
  9. This is a movie for those who watched Liam Neeson in "Taken" and thought, "Hey, this is fun, but can we do it without having to wait 15 minutes for the action to start?" Solomon has 90 minutes at his disposal, and doesn't want to waste time with setup.
  10. Judging from the lack of care that went into making this one, I'm not so sure how much Schrader cares about the movies anymore either.
  11. The new Red Dawn's body count is as high as its predecessor's. But the fatalism in all of Milius' projects - even the silliest ones - has weight. That's not the case with the remake, whose portrayal of violence derives more from video games than from history.
  12. For all its strenuous feints at fair play, though, Won't Back Down is something less honorable - a propaganda piece with blame on its mind.
  13. Jesse's nobility is one of the primary reasons Liberal Arts is so hard to take.
  14. Dunno about the Earth, but time certainly stands still for a goodly portion of Scott Derrickson's expensively produced but utterly boneheaded remake of The Day the Earth Stood Still.
  15. Hard to say what's dumber, the premise or the characters in William Olsson's trashily preposterous An American Affair.
  16. Alas, there's scarcely a moment of ingenuity or surprise in this tale of the supremely smug, unmarried-but-made-for-each-other Brad and Kate.
  17. Style can be a risky thing in a movie like this, which aspires above all to inoffensiveness. Originally titled "Playing the Field," which was deemed too racy, this rom-com would have been more aptly renamed "Running Out the Clock."
  18. Between the loaded conversations and metaphors, and the phony overlay of a children's fairy tale, The Playroom can't stop telegraphing themes and interpreting itself. There's nothing left for the audience to do.
  19. McAdams glows, as always, but Bana looks drained: I guess all that time-shifting leaves its mark on the complexion as well as the soul.
  20. This Arthur cravenly turns Susan into a monstrous status-seeker, making her less of a human being and thus much easier for Arthur to trample over in securing a meaningful adult relationship.
  21. Anderson's repeated hurling of flaming volcanic projectiles directly at the screen — the dominant feature of the latter third of Pompeii — is firmly in the lovably trashy spirit of the '50s drive-in.
  22. The movie uses the mutt's disappearance as a frame on which to hang a well-worn package of fatally mild domestic disorder, then resolve it in what feels like real time. Let's just say that the dog gets the best lines.
  23. Stevens wants to honor the living legends who have miraculously agreed to appear in his movie, but after spending a full hour treating their characters like cartoons, the about-face into heartfelt slop lacks the necessary gravitas.
    • 37 Metascore
    • 25 Critic Score
    There's a stiffness to the actors' performances that reinforces the film's ambiguous tone. And Chen's use of jump cuts is jarring and arbitrary, their ubiquity upping the ante on the film's already tiring hyperactivity.
  24. Despite Benhiby's best efforts to create one from many, the only thing the roughly 10-minute segments in New York, I Love You have in common are a general air of indifference.
  25. The result isn't fresh and realistic, though; it's clumsy and stilted. Improvised dialogue can work wonderfully if the actors have a solid feel for their characters, but everyone here seems rushed and uncomfortable.
  26. Miles ahead in terms of production values and a conscious avoidance of overt proselytizing. It will likely be an enormous success with the evangelical communities at which it's targeted. That doesn't save it from being an utter failure outside that narrow context.

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