The New York Times' Scores

For 9,779 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 Crimes and Misdemeanors
Lowest review score: 0 The Boy in the Striped Pajamas
Score distribution:
9,779 movie reviews
  1. That's My Boy is a pretty wretched movie if you want to activate your brain cells, but its busily plotted second half approaches involving.
  2. Alien invasion is just an excuse for romantic farce in Extraterrestrial, a tiresome roundelay of lies, lust and leaping paranoia.
  3. Abraham Lincoln: Vampire Hunter is such a smashing title it's too bad someone had to spoil things by making a movie to go with it.
  4. Ted
    The sin of Ted is not that it is offensive but that it is boring, lazy and wildly unoriginal. If Triumph the Insult Comic Dog ever got a hold of Ted, there would be nothing left but a pile of fluff and a few scraps of fur.
  5. Collaborator has the tone and structure of an extended one-act play. Its uniformly wooden dialogue lends it the stage-bound feel of a tortured writing exercise.
  6. If it feels uncomfortably real, it's because its vision of decadence (if you'll pardon the word) is almost unwatchably creepy. Crazy Eyes awakens the same queasiness. Yes, it feels true. But why bother?
  7. Life is suffering, as the Buddha said (including in Hardy's emotionally grinding novels), but it's more complex and contradictory than the ginned-up realism Mr. Winterbottom delivers here.
  8. There are times in The Well-Digger's Daughter, a once-upon-a-time French film about love, family and the seductive beauty of the Provençal countryside, when the story's sweetness nearly makes your teeth ache.
  9. The movie builds to a human-versus-alien showdown so sloppily staged that it makes little visual sense. The bargain-basement pyrotechnics suggest that much of The Watch was filmed on autopilot on a strict budget.
  10. Alas, the dancers have to stop sometimes to allow the utterly unoriginal story to be told, and the romance at the center of it inspired Amanda Brody, the screenwriter, to produce dialogue so cheesy as to be laughable.
  11. The cinematographer, Carl Herse, knows his way around genre staples like claustrophobic cornfields, animal carcasses, porcelain-doll heads, voyeur perspectives, decrepit interiors and, of course, the time-honored serial-killer wall, with thumbtacked clippings and photographs about old murders. Nevertheless, Rites of Spring yields a slender bounty.
  12. This premise contains the seeds of an interesting economic and political allegory, but the ambitions of the filmmakers - lie in the direction of maximum noise and minimum sense.
  13. 360
    There's no way to know what went wrong with 360 and whether it was this uninvolving and shallow from the start.
  14. For the thickheaded thriller Assassin's Bullet the Bulgarian actress Elika Portnoy dreamed up a story with three roles for herself and fails to convince in any of them.
  15. The ghastliness of this damp and squishy comedy is the byproduct of a confused and earnest sentimentality, a willful devotion to wide-eyed wonder that confuses simplicity with simple-mindedness.
  16. Once Why Stop Now? has exhausted its bag of tricks, there is a screeching of brakes as it approaches the edge of the cliff. Having expended all that stamina, the film collapses from exhaustion and settles for an abrupt, feel-good ending that is as perfunctory as it is preposterous.
  17. Mr. D'Souza stumbles when interviewing George Obama, the president's half-brother, an activist who voluntarily lives amid squalor in Nairobi, Kenya. "Obama has not done anything to help you," Mr. D'Souza says. "He's taking care of me; I'm part of the world," George Obama replies.
  18. With the exception of Marie Little White Lies focuses mostly on the men: whiny, strutting little boys whose exasperated, tight-lipped wives put up with their bad behavior and sometimes have to act like mommies.
  19. There are too many action-movie clichés without enough dramatic purpose, and interesting themes and anecdotes are scattered around without being fully explored. This is weak and cloudy moonshine: it doesn't burn or intoxicate.
  20. The Day cycles through bursts of horrific violence only to end much as it begins: static, hollow and vague.
  21. With slapstick smothering the scares, [REC 3] is further marred by a plot in which the muted Catholicism of its antecedents is turned up to full blast.
  22. The story, too, undercuts the actors.
  23. The film's subject matter is epochal, its delivery less so.
  24. Taking place almost entirely inside computer-simulated global locations, "Retribution" moves closer than ever to its airless video game roots.
  25. Exhaustive and exhausting, the new energy documentary Switch is so monotonous it makes "An Inconvenient Truth" look like "Armageddon."
  26. Pairing a dull romance with an even duller sport (at least as represented here), this cliché-ridden vanity project is more suited to the ABC Family channel than to the inside of a movie theater.
  27. Every so often there's a suggestion that a police state may actually be a lousy idea, but this thought dies even faster than the disposable characters.
  28. The fatal flaw of this well-acted movie, whose creators are sex industry veterans, is its refusal to examine Angelina's occupation from outside the bubble. You might even call it a recruitment film.
  29. Only occasionally funny and not at all illuminating about the rich world of a cappella singing.
  30. Despite Ms. Janssen's fine taste in music - it's lovely to hear Jorma Kaukonen's "Genesis" on the soundtrack - her film's downfall was ensured by a leading lady who will always be more credible chasing zombies than the American dream.

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