The New York Times' Scores

For 9,990 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 The Camden 28
Lowest review score: 0 Hush
Score distribution:
9,990 movie reviews
  1. Struggles from beginning to end to capture the charm and ebullience of "Four Weddings." The new movie's effort is mostly unsuccessful, but there are bright spots.
  2. Captures the true spirit of the holiday. It's mildly sentimental, unabashedly consumerist (with anything-but-subliminal advertisements for McDonald's hamburgers and Nestlé candy tucked inside), studiously inoffensive and completely disposable.
  3. In the end, Lisa's revolt seems as predictably programmatic, and as widely abstracted from observable human behavior, as the movie that contains her.
  4. The issue of national atonement is a sprawling topic, one ill served by the film’s unfocused and amateurish presentation. At times, the movie seems less like a full-fledged documentary than like a pitch session.
  5. Nonstop scheming and some grimy New Orleans locations prevent The Lookalike from being boring. But the movie, instead of embracing its budgetary limitations, gives off a distracting sense of trying to punch above its weight class.
  6. Motorbikes careening round corners just millimeters off the track still quicken the pulse, but “The Next Chapter” also demonstrates the padding that documentaries in general have picked up in recent years.
  7. With its implausible coincidences, inelegant plot twists and minimally characterized characters, The Trip doesn't have much going for it apart from its basic sincerity and decency, which are evident.
  8. Neither the screenplay nor the film's visual vocabulary begins to evoke a charged spiritual tension between the protagonist and the world.
  9. The movie turns into a cobweb of tricky spins and twists that seems like a hip-hop version of "Ruthless People."
  10. It feels willed, aggressive and unconvincing -- clammy rather than cool -- in a way that suggests artistic frustration rather than discovery. The water shortage may be a metaphor for the director’s creative desiccation, which his admirers can only hope is temporary.
  11. A muddled morality tale more interested in coming of age than getting of wisdom.
  12. Mr. De Palma can be a director of dazzling creative lunacy, but there's little craziness in this restrained, awkward film. With the diverting exception of Hilary Swank, who plays a slinky degenerate named Madeleine Linscott, the leads are disastrous.
  13. It comes as no surprise that the director, Tristan Loraine, comes from a background as an airline captain and a documentarian. Perhaps those jobs make best use of his skills.
  14. The Baytown Outlaws" avidly subscribes to the grindhouse aesthetic of Quentin Tarantino and Robert Rodriguez. If it has the right spit-in-your-face attitude, it has neither the stamina nor the wit to go the distance, although it makes it about two-thirds of the way.
  15. This movie, with its relatively modest running time and not-quite-household-name cast, is no more ridiculous than, let’s say, the “Thor” movies, and a lot less pretentious.
  16. Isn't quite savvy enough to compete with the slyest entries in that genre or madcap enough to run with the zaniest.
  17. Based on a novel by Andy Zeffer and directed by Casper Andreas, Going Down falls well short of compelling, either as a coming-of-age film, a satire or a romance.
  18. Ms. Silverstone's pouty all-American brashness counts for little in a film whose flat screenplay doesn't give her a single funny line.
  19. The movie's relentless comic excess is ultimately a little exhausting. But the longer the series endures, the more likely it is to achieve classic cult status.
  20. As a movie, Controlled Chaos is often bumpy, naïve and erratically acted.
  21. You can admire what he does without really enjoying it, and two hours and 46 minutes of pulverized architecture is a lot to endure. But in every Michael Bay movie there are at least a few moments of inspired, kinetic absurdity.
  22. Mostly, Last Weekend is an elegiac ode to affluence.
  23. Except for Ms. Janney's monstrous mother and an Alzheimer's-afflicted grandmother (Polly Bergen), Struck by Lightning gives its characters no dimension.
  24. Written and directed by Sean Mullin, a comedian and onetime Army officer (he plays a comic in the film), Amira & Sam is more successful as a portrait of veteran alienation than as a romance.
  25. Offsetting its outlandish premise with believable performances, Rage (Rabia) delivers a heavy-handed metaphor for immigrant invisibility.
  26. Long before the story culminates with a preposterous final revelation, whatever hopes you had that Now You See Me might have had anything to say about the profession of magic, rampant greed or anything else have been dashed.
  27. The film feels authentic only during the scenes between Valentín and his selfish, angry father.
  28. There are barely enough titter-worthy one-liners in Marc Lawrence's good-natured romantic comedy Did You Hear About the Morgans? to prevent it from sinking under the weight of its clichés.
  29. What a shame the Shumanskis won't sign their real names to the film. You'd almost think they were as afraid as Andrew.
  30. Handsome but empty film.

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