The New York Times' Scores

For 9,845 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 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Enough Said
Lowest review score: 0 Art History
Score distribution:
9,845 movie reviews
  1. The movie is full of scattershot gags and indifferent acting, but you get the feeling that it's bad on purpose, which makes it, given the number of teenage movies that are terrible by accident, not bad at all.
  2. With a score by Giorgio Moroder, and with ingenious costumes that are utterly au courant, Flashdance contains such dynamic dance scenes that it's a pity there's a story here to bog them down.
  3. Thornton's performance is lost in a film that is more of a schematic success than a dramatic one.
  4. 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.
  5. It would help if the movie were actually funny - or if it actually bothered to be a movie, rather than some car chases punctuated by shots of Ms. Simpson sashaying toward the camera (or more often, away from it).
  6. The humor of this situation — or of any of the movie’s strained wackiness — doesn’t particularly translate. It also does little to illuminate the more serious commentary on immigration, the legacy of colonialism and the tensions within the country’s Algerian communities.
  7. Mr. Rodriguez seems unsure what his film is really about, making the moral of the story -- "dream an unselfish dream" -- feel more like a vaguely judgmental homily than a satisfying conclusion.
  8. Part infomercial, part public-service announcement, Trade of Innocents carries such a suffocating human-rights burden that it never had much chance of becoming an actual movie. Yes, child trafficking is horrific; but embedding your raise-the-alarm mission in a film this inept runs the risk of arousing more amusement than activism.
  9. Tenderness is a movie undone by its formulaic plot conventions, and its need to give its star more screen time than his characters merits.
  10. With so much going for it, how could the movie be such a dud?
    • 49 Metascore
    • 40 Critic Score
    Many interviewees concede that the resistance is both disorganized and decentralized, and imply that some of the fighters are ethnic partisans jockeying for a slice of what will remain should the United States pull out.
  11. This is screenwriting by numbers. Unlike, say, Ken Loach’s marvelous “Bread and Roses,” Under the Same Moon is too busy sanctifying its protagonists and prodding our tear ducts to say anything remotely novel about immigration policies or their helpless victims.
  12. Except for Mr. Lloyd, the film is so sweet-natured and bland that it is almost instantly forgettable.
  13. Whether the material is “Much Ado About Nothing” or “When Harry Met Sally,” if your story requires keeping true loves apart, it is often polite to pass the time with a steady flow of comedy.
  14. Meet the Robinsons is surely one of the worst theatrically released animated features issued under the Disney label in quite some time.
  15. The meek, mopey comedy In the Land of Women is the film equivalent of a sensitive emo band with one foot in alternative rock and the other in the squishy pop mainstream: a softer, fuzzier "Garden State."
  16. My Name Is Hmmm ... has its magical moments, but they are sabotaged by the director’s showy, ham-handed technique applied to a frustratingly threadbare screenplay that leaves you wanting more.
  17. It is also possible that the problem lies not with Mr. Desplechin but with Ms. Phoenix. Her Esther is a fascinating mixture of passivity and ferocity, but it's not clear that she has the range to show both sides of the character.
  18. Looking for plausibility in a movie called Dracula Untold is as pointless as looking for humor or personality in Mr. Evans’s dour performance.
  19. Mr. Puri works hard, but the strain shows and so do the movie’s seams. And Mr. Khurrana, who rides the line between ingratiating and annoying, has trouble carrying the movie.
  20. The light, amusing bits cannot overcome the grinding, hectic emptiness, the bloated cynicism that is less a shortcoming of this particular film than a feature of the genre.
  21. There is something for everyone in Prabhudheva’s ambitious Bollywood film Ramaiya Vastavaiya — comedy, romance, action and the obligatory music-and-dancing numbers — but hardly any of it is convincing, and the proceedings are rife with clichés.
  22. Repackaged as cyberthriller, the old time-travel adventure returns in this stylish but overplotted and ultimately illogical combination of science fiction, mystery and romance.
  23. Too fuzzy-headed to rise above the pack.
  24. Its formal novelty aside, Redacted rarely hits the audience with a genuine shock or a clarifying insight. It churns through a set of ideas and emotions that are confusing and unpleasant, to be sure, but also, by now, dispiritingly familiar.
  25. The Nut Job features muddy-colored and often ugly animation, a plot that feels too stretched out and loaded with details to hold the attention of most children, and more flatulence jokes than anyone deserves.
  26. The funniest, most reckless moments in The Hangover Part II, the largely mirthless sequel to the 2009 hit "The Hangover," take place in the final credits.
  27. The mystery of Enigma is how a rich historical subject, combined with so much first-rate talent -- a highly capable (if not always exciting) director, a fine English cast, a script by Tom Stoppard -- could have yielded such a flat, plodding picture.
  28. The proliferating subplots require many big emotional confrontations, so the movie seems to reach its climax 20 minutes in, and then every 15 minutes or so thereafter. This is fairly exhausting.
  29. If Kate's hyperkinetic cheer and shrill self-absorption are Carrie trademarks, 13 years after "Sex and the City" first appeared on television, their appeal has all but evaporated. I Don't Know How She Does It seems stuck in the past.

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