The New York Times' Scores

For 9,703 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Hours
Lowest review score: 0 If One Thing Matters: A Film About Wolfgang Tillmans
Score distribution:
9,703 movie reviews
  1. It seems that it's time to admit that dressing actors in LED-studded catsuits, asking them to give performances on sterile white sets and handing the results to a team of computer animators is not a way to make a good movie.
  2. An extravagantly corny ode to the collapse of the Cleveland mafia in the 1970s.
  3. May be better enjoyed in an herb-enhanced condition. Getting stoned is, after all, a running joke in this comedy, which is as thin as rolling paper and just as ephemeral.
  4. Isn't quite savvy enough to compete with the slyest entries in that genre or madcap enough to run with the zaniest.
  5. The few glimpses we catch of the Ford's Theater production of "Our American Cousin" are unfortunately the liveliest and most convincing moments in this well-meaning, misbegotten movie.
  6. The central conceit of the characters' fates being determined by the "rules" of horror movies feels irredeemably tired; a clever idea that was worth one movie.
  7. The film mixes period footage with visually unappealing contemporary interviews. If you're expecting voluble, outsize personalities with colorful war stories, you'll be disappointed.
  8. 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.
  9. These characters may serve an obscure metaphorical agenda, but they make no psychological sense. And as the movie contemplates the rewards and perils of giving and receiving, it winds itself into stomach-turning knots.
  10. Imagine spending an afternoon watching a bunch of vagrants putter around on an abandoned city lot, and you've pretty much nailed the viewing experience of Earthwork, a painfully dull account of a year in the life of the Kansas crop artist Stan Herd.
  11. The most dispiriting thing about Something Borrowed is that with a little more art, craft and wit it could have been a lot better, maybe even good.
  12. It becomes clear pretty quickly that the only real thought in the movie has gone into the cowboy-gothic costumes and the computer-generated effects.
  13. It is by far the least strange of all the "Pirates" episodes so far, with none of the cartoonish exuberance or creepy-crawly effects that made its predecessors intermittently delightful.
  14. The funniest, most reckless moments in The Hangover Part II, the largely mirthless sequel to the 2009 hit "The Hangover," take place in the final credits.
  15. It's this compulsion to solder melancholy to weightlessness that constantly trips up the movie; Mr. Kelly doesn't have the assurance to pull off such a difficult feat.
  16. Starting as a coldly realistic thriller, this film eventually loses its bearings as the director Miguel Ángel Vivas succumbs to a fit of nihilism, transforming Kidnapped into gruesome tit-for-tat torture porn.
  17. A rom-com fairy tale so tepid and well behaved that watching it feels like being stuck in traffic as giddy joy-riders in the opposite lane break the speed limit. You have little choice but to cool your heels and pretend that the parched crabgrass in the median is a field of flowers.
  18. Cheery, corny and perhaps calculatingly unoriginal, this is packaged entertainment so familiar it feels like a remake and so wholesome you could swear Sandra Dee starred in the 1959 original. Think of it as "No Sex and the City" for tweeners.
  19. It's hard to completely dislike a movie in which Mr. James makes like Fay Wray, hitching a ride on the back of his gorilla pal, Bernie (voiced by Nick Nolte), as Bernie clambers up a bridge.
  20. Undone by its very premise: that the two stories it tells can coexist in the same film.
  21. Favreau wavers uncertainly between goofy pastiche and seriousness in a movie that wastes its title and misses the opportunity to play with, you know, ideas about the western and science-fiction horror.
  22. It's a hard movie to engage with or even sit through, despite the fact that much of the material is interesting in its own right. Oddly, but perhaps predictably, the problem is the resolutely conventional and soft-headed way in which that material has been assembled.
  23. Worse, you never root for Ms. Calderon's Luz, who goes from sullen to more sullen to a bit less sullen. She has discipline - to lift, she has to keep her weight down and train constantly - but not much compassion and no joy.
  24. An exhausted pileup of rock-movie clichés, The Perfect Age of Rock 'n' Roll presents artistic self-destruction with the solemnity of a movie that has invented a spanking-new genre.
  25. There is a paradox at the heart of the film. It strains to celebrate diversity and individualism, while its processed music exemplifies strict corporate teamwork.
  26. A new wrinkle in how the killings spool out actually makes the film even more predictable, and the deaths, which tend to be squirmy rather than explosive, are so perfunctory and lazily jokey that they leave a decidedly bad aftertaste.
  27. A story that should have been a taut poker-faced French farce that pushed its premise to the brink of absurdity stalls, unsure of its balance between comedy and drama. The movie's one reliable constant is Ms. Huppert. You can't take your eyes off her, even when she is misused and misdirected.
  28. Mr. Khan, seasoned Bollywood beefcake, is a well-muscled hunk who doesn't take himself too seriously in fight scenes. If only the film's archly slick director, Siddique, had adopted the same winking attitude toward the romantic arc. A twist near the end sends this contrived movie into a maudlin stratosphere from which it doesn't recover.
  29. The result is a movie that isn't crummy, exactly, just blah: when the freakiest teeth on screen belong not to one of Walt Conti's animatronically realized sharks but to a good-ol'-boy called Red, you know you have a problem.
  30. Its serious intentions notwithstanding, Beware the Gonzo is essentially a comedy with a mean streak; its portrait of the big man on campus is truly venomous.

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