The New York Times' Scores

For 9,439 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 2.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 20,000 Days on Earth
Lowest review score: 0 Cupid's Mistake
Score distribution:
9,439 movie reviews
  1. The whole affair has an artificial look reminiscent of a community theater production on a cardboard set. The vintage images don’t add enough to make up for the visual distraction. The story, though, is of moderate interest.
  2. Ambitious but uneven, Kai Po Che (based on Chetan Bhagat’s novel “The Three Mistakes of My Life”) mixes, not quite successfully, traditional Bollywood storytelling with something less conventional.
  3. If only Red Flag were funnier and tighter and had a sharper idea about what it means to blur the lines between self-interrogation and self-absorption. As it is, the movie throws off too few sparks.
  4. This distillation of Philip Shabecoff’s book doesn’t really capture the urgency and militancy promised in the title.
  5. Mr. Webber, a skilled actor, has not devised a narrative with sufficient momentum or tension to sustain much interest.
  6. This promisingly tragic tale is sunk by cartloads of context and an overbearing, slanted narration.
  7. Mr. Jones’s performance is the only spark within this otherwise dull, well-mannered exercise.
  8. Snoop has certainly tempered his worldview, but enlightenment isn’t as evident here as much as a woozy weariness, perhaps a long-term byproduct of being very, very stoned.
  9. The sentiments are heartfelt, but the execution is common.
  10. Captain Kirk and his crew go where too many film makers have too often gone before.
  11. What Lotus Eaters can take pride in are Gareth Munden’s stunning black-and-white cinematography and Ms. Campbell-Hughes, a riveting visual subject suggesting miles of internal depth. She makes this wallow in callow company watchable.
  12. The movie’s best bits lose out to the requisite moral turnaround.
  13. At a certain point, Antiviral doesn’t know where to go or how to break out of its vacuum-sealed sepulcher, and Syd, even when vomiting blood, remains as incorporeal and creepy as a ghost. This is a movie that drinks its own tainted blood.
  14. The film’s ending, introducing farmers whose lives (and weight) have been changed for the better, sounds enough like an infomercial to undermine the whole enterprise.
  15. Tai Chi Hero merely fills the eye, offering little that stays with you.
  16. X-Men Origins: Wolverine will most likely manage to cash in on the popularity of the earlier episodes, but it is the latest evidence that the superhero movie is suffering from serious imaginative fatigue.
  17. Stuff blows up and then more stuff blows up because that’s what happens when diversions like this hit movie screens around this time of year: chaos reigns and then some guy cleans it up.
  18. [A] glossy, fawning valentine to conspicuous consumption.
  19. Working from a script by Ms. Lowe and Mr. Oram, Mr. Wheatley continues in the same bludgeoning, amusingly if dubiously deadpan fashion for what soon feels like an overextended joke.
  20. It’s hard to emerge from “Into Darkness” without a feeling of disappointment, even betrayal.
  21. The acting, especially Ms. Moore’s, is solid. But her strong, sympathetic performance fails to transform The English Teacher into anything more than a sitcom devoid of laughs, except for a soupçon of literary humor. It is a movie at odds with itself.
  22. 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.
  23. Gentle and moving as it means to be, Always is overloaded. There is barely a scene here that wouldn't have worked better with less fanfare.
  24. Hook is overwhelmed by a screenplay heavy with complicated exposition, by what are, in effect, big busy nonsinging, nondancing production numbers and some contemporary cant about rearing children and the high price paid for success.
  25. After the painstaking buildup, the revelations are disappointingly predictable.
  26. The message just gets louder and louder, cruder and cruder, which is too bad because Mr. DeMonaco knows how to set a stage.
  27. While the film has an appealingly dreamy, summer-in-New-York look and a pleasantly languorous rhythm, it gives the actors very little to do and the audience almost nothing to care about.
  28. It’s all a bit precious and predictable.
  29. Mr. Stone builds his case seamlessly but leaves no room for dissent, much less a drop of doubt.
  30. The incrementally served up pieces never satisfactorily cohere. The blades fly as do the heads, but the movie remains disappointingly aground.

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