The New York Times' Scores

For 9,533 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 Mystic River
Lowest review score: 0 State Property
Score distribution:
9,533 movie reviews
  1. 24 Exposures plays like an exercise. With a thin plot — the usual parade of possible killers — it falls to the actors to provide zing.
  2. Having established a downbeat, even stoically plain tone, this economical affair feels like a canvas prepped for, and awaiting, further detail (or straight-to-video-on-demand sequels).
  3. The two leads have enough genuine sex appeal to make the film endurable.
  4. Shooting in unattractive, hard-edge digital, Teller condenses Mr. Jenison’s years-long pursuit into 80 glib, alternately diverting, exasperating and tedious minutes.
  5. There’s a little effort to give each story its own tempo and style; you notice bits and pieces plucked from other movies or TV shows.
  6. The cinematographer Anil Mehta’s lovely, unfussy images ground the film and show us a good bit of India... Mr. Ali’s story, though, wanders too long and too far, sometimes coming off like a forced mash-up of “It Happened One Night” and “Patty Hearst.”
  7. In this blood-splattered wasteland, neither original ideas nor acting skills flourish.
  8. The movie’s few spectacles — particularly the composite image of Russian soldiers aflame after a fuel depot explodes — seem to consume the creative energies of the filmmakers, with their palpable pride in staging patriotic deaths from the safe distance of history.
  9. It’s a stretch to call Mr. Everson’s film a documentary.
  10. Considering that the fate of humankind is at stake, War of the Worlds: Goliath is remarkably uninvolving.
  11. This proudly old-fashioned movie will pull any trick in the book to hold your attention. And it needs those tricks: Damien Chazelle’s screenplay is sloppy, ludicrous and ultimately devoid of suspense.
  12. Mr. Perry’s latest film touches upon some recognizable and realistic challenges with efficient compassion, but there’s probably more dramatic tension in a car pool than in this film’s collection of predicaments.
  13. Ms. Roth’s prose style is good enough and Tris appealing enough that, at least in the book, it’s easy to breeze past the plot holes. It’s harder to ignore those flaws in the movie, partly because the director, Neil Burger (“Limitless”), gives you little to hang onto — beauty, thrills, a visual style.
  14. The movie, admirably shot on location, has a cast that is nonetheless directed without much verve by Wiebke von Carolsfeld. The film was adapted from a novel by Aislinn Hunter, but the characters’ inner lives remain elusive.
  15. Deficient even in most of its set pieces, In the Blood does Ms. Carano (and Caribbean tourism) few favors. Somebody, please give her a better script and director.
  16. Dignified to a fault and crammed with historical worthies (like a pre-deportation Emma Goldman), this dry tour of union hall strife and kitchen table sentiment wears its sympathies proudly.
  17. Preachy and pretty, Heaven is a classy-looking product with a vanilla flavor and a pastel palette.
  18. Ms. Hall’s Lotte is the weak link in the triangle. Despite all her character’s flowery words of longing, she can’t convey the heat bottled under Lotte’s demure demeanor.
  19. What is most striking about this movie is how un-self-conscious it is as it conducts a prurient and superficial inquiry into adolescent female sexuality.
  20. Visually, Walking With the Enemy resembles a TV mini-series, a sense enhanced by the director Mark Schmidt’s habit of cutting away from bloodshed. Constant title cards introducing historical figures suggest the work of a completist rather than a filmmaker who has focused the material.
  21. It’s cruel but must be said: Presented in hushed, reverent tones, Jobriath A.D. often comes across as mockumentary material; each ghastly career move is followed by another. Hampered by limited video of Jobriath, the film lacks a sense of him or his music.
  22. With jokes and computer-generated spectacles diluting the action, this is not one for fight-film purists.
  23. The cast does a fine collective job, and Mr. Brill’s script flirts with clever charm here and there. But the whole film is a missed opportunity because the situations repeatedly defy credibility, and the humor never says anything remotely fresh about human nature or the world we live in.
  24. If the film is less persuasive for its lack of balance, it’s at least heartening to learn that undesirable dams can be destroyed and their rivers restored to their old ways and means.
  25. Every conflict is softened by inspirational clichés.
  26. Even more inadvisable was the decision (whether made by Mr. McLean or his backers) to transform the mercurial psychopath Mick Taylor (a truly menacing John Jarratt) into a roguish cartoon.
  27. The actors — the deft Mr. Brühl and the charming Ms. Herzsprung — add what levity they can.
  28. Although the subject is potent, the film, directed with a seemingly effortless commercial acumen, doesn’t burrow deeply.
  29. After a certain point, watching it is like listening to the ravings of an increasingly incoherent and abusive drunk.
  30. Bagdad Cafe is too slow-paced to work as a comedy, and its screenplay manages simultaneously to be both shapeless and pat.

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