The New York Times' Scores

For 10,062 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 Atanarjuat: The Fast Runner
Lowest review score: 0 Neander-Jin: The Return of the Neanderthal Man
Score distribution:
10,062 movie reviews
  1. Serious, competent and unsurprising debut film.
  2. The director's breezy steadiness keeps the movie from hitting us over the head -- well, not too hard, anyway, no small feat since the steroid-juiced sentimentality of the ending may force some to flee before the outtakes unspool under the credits.
  3. As a director, Mr. Ratliff wisely rejects the temptation to make fun of his subjects, most of whom seem to believe sincerely that they are doing the work of God.
    • 50 Metascore
    • 50 Critic Score
    An unsettling, rudely funny but not entirely credible feature.
  4. Openly polemical but also sobering documentary.
  5. Whenever the picture tries to be about something bigger, it turns predictable or maudlin or, in a few sad instances, both simultaneously.
  6. Too elliptical and poetically structured to cohere as more than an intense mood piece with social ramifications. The movie is so enraptured with its own romantic desolation that its narrative drive becomes sidetracked.
  7. Sheds heat but insufficient light.
  8. It all feels utterly real and banal. You could describe The Trouble With Men and Women as a comfortable armchair to come back to: too comfortable.
  9. The most interesting thing to watch in I, Me aur Main, the directorial debut of Kapil Sharma (his father, Rakesh Sharma, was the first Indian in space), is the changing moral landscape.
  10. Never shows enough passion to be interestingly bad.
  11. A wispy pubescent comedy.
  12. Rambles along amiably and predictably enough, stopping now and again to glory in the “magic of cinema.” But the film falters at dramatic moments.
  13. Like most movies that examine specific ailments, this gawky, occasionally touching film has the feel of a dramatized case history whose purpose is to educate as much as it is to tell a story.
  14. Has the scruffy charm you expect from this kind of picture, and some admirable feminist pluck. But the story is -- forgive me -- a little thin, and the filmmaking clumsy and rushed.
  15. In critical ways, the movie is a mess. The basketball scenes are so sloppy and haphazard that the would-be slapstick registers as confusion. But away from the court, the actors bring their caricatures to folksy comic life.
  16. If these two can figure out a way to love each other, maybe it isn't necessary for us to like them very much.
  17. It's all very zany. Occasionally it is even madcap. You would almost be tempted to smile at times, albeit weakly, if it weren't for Mr. Miike's habit of pounding home every joke with exaggerated reaction shots.
  18. The film is stronger with its moment-to-moment tension than with its cynical, shallow media satire.
  19. For what it is -- a romantic comedy about the rivalry between a jealous ghost and a flaky psychic for the love of a veterinarian -- Over Her Dead Body is not bad.
  20. Defiance presents itself as an explicit correction of the cultural record, a counterpoint to all those lachrymose World War II tales of helplessness and victimhood. This is a perfectly honorable intention, but the problem is that, in setting out to overturn historical stereotypes of Jewish passivity, Mr. Zwick (who co-wrote the screenplay with Clayton Frohman) ends up affirming them.
  21. Nobody in it seems organically connected to anybody else. In a movie devoted to the idea that everything and everyone is connected, this is a serious failing, and it undermines Mr. Sayles's noble intentions.
  22. There are some amusing moments, to be sure, and some touching ones as well, but the film is less interested in ideas or emotions than in illusions. It produces an aura of suspense without a sense of real risk, and offers devotees of fashion an appealing, shallow fantasy of inside knowledge.
  23. The protagonist’s life changes for the better, but your mileage may vary.
  24. Takes such pains to avoid narrative and verbal cliches and anything that could remotely be construed as sentimental or romantic that it feels curiously flat.
  25. Entertaining without being especially illuminating. If you must see only one documentary about a Slovene philosopher this year, it might be better to read his books.
  26. The buoyancy is only intermittent.
    • The New York Times
  27. What really drives the movie is its own search for something to make fun of, and for a comic style that can feel credibly naughty while remaining ultimately safe and affirmative.
  28. One of the more watchable films of the summer. A folly, true, but watchable.
    • 34 Metascore
    • 50 Critic Score
    Like too many horror pictures, The Messengers becomes more boringly prosaic as it goes along, and there's an 11th-hour plot twist so dumb and poorly articulated that it destroys the movie. That's a shame, because shot for shot, the Pangs might be the most terrifying filmmakers alive.

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