The New York Times' Scores

For 9,372 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 Army of Shadows
Lowest review score: 0 Mary
Score distribution:
9,372 movie reviews
  1. With The Canyons, [Mr. Schrader] tries to get at something real under all the hard, glossy surfaces, but ends up caught in the divide between the movie that he seems to have wanted to make and the one he did.
  2. This poor-surfers-make-good drama from Morgan O’Neill and Ben Nott relies more than it should on toned thighs and taut gluteals. Be grateful; there’s nothing to see on dry land that’s anywhere near as compelling.
  3. Planes is for the most part content to imitate rather than innovate, presumably hoping to reap a respectable fraction of the box office numbers of “Cars” and “Cars 2,” which together made hundreds of millions of dollars (not to mention the ubiquitous product tie-ins).
  4. The movie chugs along for most of its 2 hours and 20 minutes searching for comedy and characters in a frantically overplotted story.
  5. The film’s stacked stories naggingly lack a cohesive train of thought beyond the often harmful pervasiveness of pharmaceuticals in American society.
  6. Too much of the film feels like shorthand, a trail of teasing crumbs to lead us to the inevitable sequels.
  7. Mr. Miller’s stolid approach — with its waxwork figures, postcard beauty, insistent tastefulness and glaze of politesse — feels far too comfortably of this world to mount a critique of it.
  8. The film’s tale ends up being less rich than its lovely Georgia settings.
  9. It's more cheerful than funny, and so insistently ungrudging about Americans and Japanese alike that its satire cuts like a wet sponge.
  10. With a group so evidently versed in the visuals of rock history, it’s a shame that a filmmaker wasn’t hired who would pay homage to classic pop films instead of offering a satisfactory paid promotional.
  11. This directorial debut by Liz W. Garcia, a writer for television, bears some echoes of its creator’s origins, going from deft to trite in its drama and setting up character arcs that feel sappily resolved within its feature length.
  12. A modest effort only fitfully attaining its aims.
  13. The Colony is two-thirds of a pretty good sci-fi suspense movie. But it eventually takes a disappointing turn and becomes yet another run-from-the-ghouls exercise, cheapening decent work by a good cast.
  14. Despite smatterings of wit and a stable of skilled performers, C.O.G. struggles to find a consistent tone, its episodic structure veering from farcical to poignant to dangerously raw.
  15. Mr. Rosenthal puts the story’s parts into play well enough, but once everyone and everything is in position that’s more or less where they stay as this slow story downshifts to a crawl.
  16. A surprisingly cheesy horror film to come from Mr. Carpenter (''Halloween,'' ''Escape From New York,'' among others), a director whose work is usually far more efficient and inventive.
  17. A promising, though static, new film that never leaves its taciturn shadows for a single emotionally gripping moment.
  18. None of it is as scary or as funny as it should be, and what starts out as a sly thumb in the eye of corporate power ends up as a muddled and amateurish homage to David Lynch.
  19. The film is about exotic locations (including a volcano), garish humor (often at the expense of Mr. Chan or women), fisticuffs, stunts and frenetic visual bombast.
  20. The conventions are trundled out in Stanley J. Orzel’s cross-cultural romance, Lost for Words, but not the tension or the chemistry.
  21. Boss is billed as an action comedy, but it isn’t always clear what is part of the joke and what isn’t.
  22. Mr. Banker teases us with a dizzy, dislocating shooting style that throws up a succession of eerily arresting images. Even so, his film never overcomes the fact that watching drugged-out wastrels is rarely interesting — unless, of course, you’re one of them.
  23. If you approach Last Vegas expecting an emotionally engaging, in any way surprising, moviegoing experience, you will be disappointed. But if you want the equivalent of an old-fashioned television variety show — a Very Special Evening with Robert De Niro, Morgan Freeman, Michael Douglas and Kevin Kline — you might not have such a bad time.
  24. While this unrelentingly midtempo movie milks Brooklyn for its chic, it manages to denude it of its color.
  25. Ms. Otto conveys a double-edged intelligence as the film’s pinched notion of “Elizabeth Bishop in Brazil,” while Ms. Pires strides about, every snap judgment and grand gesture a measure of her appeal. Both are hemmed in by direction and a screenplay that are relentlessly on point (as well as an off-the-shelf score).
  26. Very young children fluent in French may enjoy the film for its jokes, but anyone old enough to read the subtitles is likely to be unamused.
  27. Narco Cultura feels like two short films sandwiched together to make a feature. One is a shallow pop-music documentary focusing on Mr. Quintero. The other is an equally superficial portrait of the embattled Ciudad Juárez, across the border from El Paso.
  28. Cold Turkey has some fine actors who put effort into their roles, but it’s getting harder and harder to care about or laugh at adult characters who have botched up their affluent lives and are still obsessed with events from childhood.
  29. The film feels like a work of community advocacy.
  30. The residents of the English village Gladbury in the period holiday film The Christmas Candle might as well be bustling about in a snow globe for all their dimples, yuletide obsession and quaint, consumptive coughs.

Top Trailers