The New York Times' Scores

For 10,137 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Beat That My Heart Skipped
Lowest review score: 0 Hush
Score distribution:
10,137 movie reviews
  1. The humor is coarse and occasionally funny. The archly bombastic score, by Edward Sheamur, is the only thing you might call witty. But happily, Jennifer Coolidge and Fred Willard show up, as the White Bitch and Aslo the Lion, to add some easy, demented class.
  2. This breathless demi-noir has so much bounce that we barely get any time to mull over the gaping holes in its moth-eaten plot. It is competent but extremely slight.
    • 42 Metascore
    • 40 Critic Score
    With its exasperating camerawork, murky lighting - at least two scenes are near indecipherable - and interminable shots of Fannie gazing slack-jawed at the world, Piggie is a disappointing debut.
  3. Neither the action nor the comedy in this action comedy is consistently strong.
  4. What could have been a moderately entertaining short film is yanked to intolerable lengths in Killing Bono, a shapeless rock-music caper that, like its deluded antihero, just doesn't know when to stop.
  5. The filmmakers have no patience for details, either basic or telling. Their elliptical method starts to seem lazy, and Jean's plight, a journey from bad to bad, starts to seem a stacked deck. Through it all Mr. Genty holds your attention with his sober dignity. Too bad the filmmakers frequently let that slip into pathos.
  6. The offending videotape is never seen, but the entire film is built around its absence. Periodically, the film returns to a written police account of the video, which scrolls up the screen, documenting the animal's suffering blow by blow to the sound of ominous music.
  7. It’s all a bit like a classic-rock tribute concert, or playing with all your action figures at once, or maybe “Cannonball Run,” with the strained buddy-buddy back-and-forth.
  8. While impressively made, this impassive and cold feature fails, in a spectacular fashion, to deliver the thrills.
  9. Mr. Quandour's utopian vision may seem improbable - that fairy tale quality again - but his odd, guileless, folkloric movie doesn't feel cloying so much as something from a different world.
  10. It works in so many ways except for the script, which sounds laughable. And sadly, when Lost and Delirious trips over its own two feet, it is laughable. It needs to follow Paulie's advice and rage more.
  11. Reuben is a whiny and uncoordinated prodigal son. His constant chafing at himself and the world is the film's biggest problem; by the midway point we're all wishing him back in Finland where he belongs.
  12. The problem with the movie is that James and Mattie exhibit little but shallow, infantile neurosis, with next to no hint of a complex -- or even legible -- inner life.
    • 93 Metascore
    • 40 Critic Score
    It is full of elegant and striking photography; and it is an intolerably artsy, artificial film.
  13. The animated tale Henry & Me aims to inspire sick children, but it also aims to promote the Yankees and the team’s mythology. The two goals don’t mesh very well.
  14. An overstuffed, intellectually underbaked portrait of a poor little rich girl.
  15. Awkward, obvious and sporadically -- very sporadically -- amusing.
  16. A gently wry sense of humor about human foibles and some well-turned exchanges keep the proceedings drifting along pleasantly enough, until characters start convening for the requisite heart-to-hearts and making-up.
  17. Like so much of current polarized communication, “Assaulted,” wherever it is shown, is likely to be preaching to the choir.
  18. If it weren’t for the diligent performances of its stars, who inject some emotional depth into this bogus claptrap, Before I Go to Sleep would be an unwatchable, titter-inducing catastrophe.
  19. Favreau wavers uncertainly between goofy pastiche and seriousness in a movie that wastes its title and misses the opportunity to play with, you know, ideas about the western and science-fiction horror.
  20. Though not without substance, National Security is marred by writing that’s not nearly as creative as the torments it portrays.
    • 41 Metascore
    • 40 Critic Score
    If earnestness equaled skill, Constellation would be a classic.
  21. The movie, whose cacophonous soundtrack, when turned up, conjures your worst nightmare of sirens, car alarms, jackhammers and sundry aural assaults, is a one-trick film that rapidly wears out its welcome.
  22. Another piece of propaganda for the Bieber proletariat.
  23. Except for the piquant garnish of Mr. MacLachlan, the movie, written and directed by Ian Iqbal Rashid, is barely a cut above an amateur production. The attempts at humor fizzle, and the performances are wooden and overstated.
  24. In Hollywood Buddha, Mr. Caland plays, directs and reimagines himself. This is truly a vanity project, as evidenced by the ample amount of screen time he gives his own pecs and thighs.
  25. Intermittently beautiful but frustratingly leaden, Shutterbug labors ineffectually to promote authenticity over artifice. A heavily stylized paean to undoctored images, the movie never quite clicks as a succession of moving ones.
  26. Imagine spending an afternoon watching a bunch of vagrants putter around on an abandoned city lot, and you've pretty much nailed the viewing experience of Earthwork, a painfully dull account of a year in the life of the Kansas crop artist Stan Herd.
  27. That potential is mostly squandered in The Dictator, which gestures halfheartedly toward topicality and, with equal lack of conviction, toward pure, anarchic silliness.

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