The New York Times' Scores

For 13,257 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Treasure
Lowest review score: 0 Whipped
Score distribution:
13257 movie reviews
    • 68 Metascore
    • 30 Critic Score
    The movie's main theme, no surprise, is the struggle of The Times to survive in the age of the Internet. But it does little to illuminate that struggle, preferring instead a constant parade of people telling the camera how dreadful it would be if The Times did not survive. True, of course, but boring to the point of irritation after five or six repetitions.
  1. The film version is now being granted a limited release. Exactly how limited will depend on your tolerance for tasteless behavior, extravagant overacting and a decibel level to rival the unveiling of Oprah’s Favorite Things.
  2. Because the filmmakers have given their characters labels (rebel, guru, villain) instead of personalities, the movie’s bid for epic resonance feels particularly hollow.
  3. It’s hard to know what the director Allen Coulter could have done to improve Will Fetters’s absurdly contrived, yakky script about love and loss, largely set in the summer of 2001. But Mr. Coulter doesn’t help matters by infusing the movie with grave self-importance.
  4. Though this is by no means the grisliest or most witless film made from one of Mr. King's horrific fantasies, it can lay claim to being the most unpleasant. Why? Because when you strip away the suspenseful buildup to a King story, you're often left with mechanical moralizing and crude, sophomoric small talk. Needful Things has more of both than any film could ever need.
  5. Nearly every one of the film's emotional scenes is too predictable to hit its mark, but Mr. Jones's dry delivery has its moments.
  6. The movie makes halfhearted efforts to give Kate and others back stories, but mostly it’s content to follow her as she runs around in subway tunnels, down a staircase and through city streets.
  7. There’s more flab than muscle packed on this galumphing franchise reboot, which, as it lumbers from scene to scene, reminds you of what a great action god Steven Spielberg is. Too bad he didn’t take the reins on this.
  8. As it lurches from Act II to Act III, Battle: Loss Angeles reveals itself to be a lousy movie.
  9. There is very little fun in The Ice Harvest, which wouldn't pose a problem if the film had some fleshed-out ideas to go along with the booze, the booty and the recycled plot points.
  10. Strains to be the ne plus ultra of arch, hyper-sophisticated fun, but the laughs are few.
  11. The screenplay never begins to finds a workable balance between wit and adventure. And the performances in several smaller roles are so mechanical that they lend Kill Me Later the tone of a vanity production.
  12. What is harder to comprehend is how Mr. Clooney turned out such a sloppy, haphazard and tonally incoherent piece of work. Leatherheads lurches hectically between Coen brothers-style pastiche and John Saylesian didacticism, while Mr. Clooney works his brow and his jaw and waits in vain for his charm to kick in and save the day.
  13. Mr. Nadjari, who wrote the screenplay with Geoffroy Grison, may have been intending a minimalist character study, but even so, he has abdicated his responsibility: Too much of this family drama is left to the audience to fill in.
  14. Seriously depleting the skanky-villain bin at central casting, the moronic thriller Gone stars Amanda Seyfried as Jill.
  15. Leonie Gilmour was almost certainly unusual and unusually self-reliant. Too bad that the film that bears her name ultimately reduces her to the mother of her child.
  16. Unspooling with an angry intensity and without a single sympathetic character, “Unfreedom” (originally titled “Blemished Light”) is a hard-line thriller derailed by messy editing and narrative silliness.
  17. Just when its parts should come together, As Cool as I Am crumbles to bits.
  18. The movie can't make up its mind whether it's a lighthearted comedy, set in what appears to be a posh New England-style prep school just outside Chicago, or a romantic drama about a teen-age boy who has a torrid affair with his roommate's mother. Either way it's pretty awful.
  19. Handsome cinematography and a highly competent supporting cast — including Michelle Monaghan, Nathan Lane and Alex Karpovsky — can’t save The Vanishing of Sidney Hall, a tortured mystery dripping with pretentiousness.
  20. The movie's amoral momentum is fatally slowed by an acronym-heavy script and flimsy characterizations that offer fine actors -- including Rip Torn as Tom's contemptuous father and Naomie Harris as his missed opportunity -- little to play.
  21. The filmmakers feign boldness in tackling national politics, but revert to coyness and caricature when it comes to local matters, gesturing toward a multiculturalism that isn’t even skin deep and sweeping gentrification under the rug.
  22. So disorganized that it seems to be pulling its conclusions out of its pockets, along with scraps of paper, matches, lint and half-forgotten junk.
  23. Mumbly dialogue, relentlessly jittery camerawork, a star who is also co-director and co-writer: Yes, it’s time for another movie that mistakes the claustrophobic world of young New York artsy types for something interesting.
  24. Sitting through the lavish and dumb action spectacular Lara Croft: Tomb Raider is about as much fun as watching someone else play a video game.
  25. As an actress (Derek) displays the sort of fausse naivete that is less erotic than perfunctorily calculated, in the manner of an old-fashioned, pre-porn-era stripteaser who might have started her act dressed like Heidi. This isn't Tarzan, the Ape Man. It's ''Little Bo Peep.''..The kind of movie that might seem funny when seen after several martinis. Viewed stone-sober, it's a movie of more squirms than screams.
  26. Seems both overplotted and underimagined, though there is at least some creativity and a dose of realism, evident in the hairstyles themselves.
  27. Little more than a loose- jointed succession of goofy "Saturday Night Live"-style sketches and sight gags inspired by an actual event that is nearly half a century behind us.
  28. Newlyweds are slaughtered, a child kidnapped and a suicide bombing foiled, all of it advanced by chunks of clumsy dialogue and embarrassingly labored acting.
  29. You’ll find beatings, shootouts, car crashes, awkward analogies and a measure of buddy badinage in “Bright,” but true enchantment is in short supply.

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