The New York Times' Scores

For 12,236 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 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Sugar
Lowest review score: 0 King's Ransom
Score distribution:
12236 movie reviews
  1. The mildly xenophobic humor includes one of the few inventive mime insults seen in a movie; Eurotrip may be stupid, but it's not dumb.
  2. Other Van Peebleses also populate the movie, and all are serviceable enough as actors; it would be nice to see them in less earnest, more original material.
  3. Quickly turns into an earnest talkfest (spiced with flashes of nudity and sexually explicit dialogue) that feels stiffly programmatic and ultimately false.
  4. Bob Yari’s Papa: Hemingway in Cuba is more artifact than art.
  5. Less scary than creepy, The Grudge may have lost some oomph in the translation from Japanese to English, and the desire for a PG-13 rating probably muted the violence and perhaps the scares.
  6. Night of the Living Dead is a grainy little movie acted by what appear to be nonprofessional actors, who are besieged in a farm house by some other nonprofessional actors who stagger around, stiff-legged, pretending to be flesh-eating ghouls.
  7. The movie may suffer from a surfeit of excesses, but it does have arresting, if overwrought, things to say about domestic abuse in India.
  8. Would much rather wallow in music than develop the strands of a story.
  9. Dour and bleak, yet this melodrama -- which doesn't amount to much of anything -- may stick with you.
  10. Dramatically Joe the King feels unglued, as if crucial sequences had been left on the cutting-room floor.
  11. Despite swooping camera movements and elaborate stagecraft, the film produces detachment rather than immediacy.
  12. Possession is in the end an honorable, interesting failure. It falls far short of poetry, but it's not bad prose.
  13. The animation is competent, and some of the gags are quite funny, but Jonah never shakes the oppressive, morally superior good-for-you quality that almost automatically accompanies didactic entertainment.
  14. A lot of the weight of selling the story falls on Ms. Chen, and she’s not entirely up to the challenge, but Mr. Lim is able to build suspense anyway.
  15. Effective filmmaking, and at the moment, when a significant portion of this campaign is being fought in movie theaters, it's also effective politicking.
  16. While there are some genuinely dazzling moments of visual bravura, the marriage of flatness and depth that Mr. Aramaki attempts doesn't quite work.
  17. It is not entirely without charm or wit. Directed by John Lasseter (with Brad Lewis credited as co-director) from a script by Ben Queen, Cars 2 lavishes scrupulous imaginative attention on its cosmopolitan settings.
  18. The film's energy begins to flag after less than an hour, and as its pulse slackens it turns into a quirky allegory, punctuated with brilliant visionary flashes that partially redeem a philosophic ham-handedness.
  19. Neither the value of music nor the deficiencies of certain nursing homes are tough to debate. But a documentary that never leaves any doubt about what comes next, while single-mindedly stumping for a cause presented as unique, is also not terribly interesting as a film.
  20. This dully structured film makes its points early and often, treading water before a purposely delayed big finish.
  21. This is well-worn territory, and though the two leads are very good, the romance that is supposed to drive the story isn’t particularly well delineated.
  22. In the breezy, amoral heist comedy Mad Money, “Fun With Dick and Jane” meets “9 to 5” on the way to recession.
  23. Mr. Farrell and Mr. Doyle continue to hold your gaze, even as Mr. Jordan's screenplay sets your mind to wandering. There is, as noted, a wisp of a tale tucked into this film, one that, as the story wears on, becomes ponderously weighed down with melodramatic filler and even some halfhearted genre action.
  24. The film has the loose narrative structure of a quasi-poetic personal journal that is more a series of reflections than a cohesive story.
  25. [A] useful, if slightly redundant, oral history.
  26. It may have been a shrewd business decision by the film’s director, Miguel Sapochnik, to treat the story as a nasty, comic thriller. But when, after a certain point, Repo Men subsumes its satire to strenuous action sequences, it loses its edge and turns into a chase movie of no special distinction.
  27. A beautifully filmed and patiently explained assessment of a proposal to build five hydroelectric dams in the Patagonia region of Chile.
  28. Mr. Auteuil’s passion project is sincere but not successful, honorable but not alive.
  29. This film is actually less menacing than marveling, though a disturbing opening scene in a storm-tossed van could fit right into Mr. Quale’s earlier work.
  30. Hollidaysburg is a pleasant if unremarkable coming-of-age film.

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