The New York Times' Scores

For 9,653 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 Hamlet
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
9,653 movie reviews
  1. If Kate's hyperkinetic cheer and shrill self-absorption are Carrie trademarks, 13 years after "Sex and the City" first appeared on television, their appeal has all but evaporated. I Don't Know How She Does It seems stuck in the past.
  2. Notable at least in part for its fumbled potential, this health-care-industry melodrama possesses all the right ingredients: an idealistic young lawyer, a corrupt corporate villain and a sympathetic victim. It just fails to assemble them into a compelling whole.
  3. It feels warmed over, devoid of urgency and, in spite of Mr. Broomfield's on-camera displays of doggedness, lacking in curiosity.
  4. This crackpot thriller from the usually competent Jim Sheridan leaves only one mystery unsolved: what on earth was he thinking?
  5. Deep down, though, this movie by the first-time writer-director Abe Sylvia is desperate for approval. Starting out with a blast of profanity and sexual brazenness, it lands in a zone of earnest, sloppy weepiness.
  6. This debut feature from Matthijs van Heijningen is as stiff as the Antarctic tundra. Where the earlier film pulsed with precisely calibrated paranoia and distinctly drawn characters, this inarticulate replay unfolds as mechanistically as a video game.
  7. Mr. Lee gathers together a lifetime of hurt without conveying that there's something personal at stake.
  8. Its scenes frequently feature Africans machine-gunning other Africans or hacking them to death with machetes. This is a disturbing sight indeed. Maybe it was intended as a metaphor, but this movie isn't nearly sophisticated enough to pull off that kind of commentary. It's not really even sophisticated enough to be an absorbing zombie movie
  9. The film advances the "let's put on a show" genre into a grim and hopeless direction, just right for hard times. In different hands Happy Life might become a decent movie. Maybe it's best thought of as a demo.
  10. The script, by Mr. Marshall and R. A. White, doesn't contain enough that's genuinely funny, which leaves everybody trying too hard. Only Ann-Margret, as the fair's reigning queen, retains her dignity.
  11. A moldy, post-cold-war spy thriller.
  12. A drippy ending erases all the hopes you've built up and forces you to conclude that this wasn't such a well-thought-out film after all.
  13. What could have been a moderately entertaining short film is yanked to intolerable lengths in Killing Bono, a shapeless rock-music caper that, like its deluded antihero, just doesn't know when to stop.
  14. Mr. Quandour's utopian vision may seem improbable - that fairy tale quality again - but his odd, guileless, folkloric movie doesn't feel cloying so much as something from a different world.
  15. Cultivation and fine manners are nowhere to be found in the foul urban cesspool of William Monahan's London Boulevard. This palpitating mess of a movie certainly doesn't lack for pungent atmosphere.
  16. Steve Guttenberg is probably supposed to be a lovable loser in A Novel Romance, a drab, clumsy film by Allie Dvorin, but he can manage to be merely annoying. Mr. Guttenberg, though, deserves only part of the blame for this unrewarding movie.
  17. The characters are trapped, suffocated, pushed through a story that gives them very little room or time to figure themselves out, and that finally turns their feelings into the wan stuff of fable.
    • 46 Metascore
    • 40 Critic Score
    Rosenmeier's tendency to insert herself at the center of the story - awkwardly drifting into the frame as she interviews local social workers, carefully inspecting institutions as if she were a high-profile ambassador - at first seems slightly immodest. Gradually, it suggests a deeply unsettling level of self-involvement.
  18. Red Hook Black crawls forward by means of stilted conversations and vacuous exchanges.
  19. An intermittently interesting but fatally clichéd comedy of personal and professional suicide.
  20. As a portrait of anxious, status-conscious Brooklyn parents living in a chiaroscuro of self-righteousness and guilt, Carnage misses its mark badly.
  21. This might be more entertaining if any of the three main characters were at all likable.
  22. Mr. Bale, turning in a respectable if oddly chipper performance under the circumstances, has the unfortunate task of playing a character who doesn't really add up.
  23. Yes, you may cry, but when tears are milked as they are here, the truer response should be rage.
  24. You are left with the impression of an old woman who can't quite remember who she used to be and of a movie that is not so sure either.
  25. A lower echelon of musical comedy hell (or heaven, if you love the hoariest musical comedy clichés).
  26. You really can't hang a drama on a mathematical theory and expect it to serve as a shortcut for storytelling.
  27. The actors are all natural, but no character is developed enough for you to care who is killed next. There's not much suspense, no inventive pacing, no wink-wink irony, no cinematic gimmicks, not much mystery and no awful gore.
  28. To say that this live-action comic book lives up to Mr. Lucas's description is not a wholehearted endorsement. Are teenage boys as naïve today as they were 60 or more years ago? And much of the dialogue is groaningly clunky. But so it was back then.
  29. The upshot is that instead of a film about a love that conquered a king and nearly undid a kingdom, Madonna has come up with a female friendship movie, which would be fine if she weren't busy trying to prove her art-film bona fides.

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