The New York Times' Scores

For 9,777 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 Pieta
Lowest review score: 0 Alien Girl
Score distribution:
9,777 movie reviews
  1. These cinematic feats are accomplished with meat-cleaver editing and awkward, jittery computer-generated imagery. The well-cast voices for the expressionless animals are at least good for a few smirks.
  2. Faithful to the outline of the novel but emotionally and spiritually anemic, it slides into the void between art and entertainment, where well-intended would-be screen epics often land with a thud.
  3. Frank V. Ross wrote and directed this slice of Midwestern mumblecore in a style -- overlapping dialogue, off-center compositions, a jumpy, disconnected narrative -- that suggests Robert Altman without any of Altman's instincts for character and poetry.
  4. The harder this desperately obsequious circus of a movie tries to entertain, the more it falls short.
  5. Sincere performances elevate an underdeveloped script and awkward filmmaking in The Dry Land, a coming-home drama as inexpressive as its traumatized lead.
  6. Belonging more in the realm of tragic melodrama than true crime, The Sicilian Girl is hobbled by sluggish direction (by Marco Amenta, who previously addressed Atria's story in his 1997 documentary, "One Girl Against the Mafia: Diary of a Sicilian Rebel"), and a revulsion to nuance.
  7. Might more aptly be described as Bad Kurosawa, Bad Peckinpah or Bad Leone. Which might be a way of saying that it's better-than-average Stallone. I can't quite say that it's not bad: it is bad! But not entirely in a bad way.
  8. A raunchy romantic comedy that, like its heroine, rarely has both feet on the ground.
  9. This pointless parody dumps us in the fictional town of Sporks, Wash., a location lousy with vampires and werewolves.
  10. The entertainment formula behind this short and nasty movie - devised according to someone's idea of what teenage boys with the guile, the facial hair or the "guardian" to gain admission to an R-rated movie are likely to enjoy - is sloppy and simple.
  11. That Flipped isn't insufferably cute is a measure of its integrity. But it still strains to view the world through the eyes of children without a filter of grown-up cynicism. It is plodding and awkwardly paced.
  12. Gets lost in a fog of indecision and compromise.
  13. The schmaltzy sports movie Legendary is a kind of contemporary answer to the old Charles Atlas ad in which a 97-pound weakling develops muscles and triumphantly punches out the bully at the beach.
  14. This talking-animal tale - has old-fashioned backgrounds that occasionally achieve a touch of grandeur, but that's about the best that can be said for it.
  15. Say what you like about "America's Next Top Model," any single episode of Tyra Banks's campy confection offers more insight into objectification and disposability than this film in its entirety.
  16. The title may be mildly provocative in its vulgarity, but the most striking feature of this movie is its dullness.
  17. A thoroughly dreary, by-the-numbers exercise.
  18. For all its seriousness, Kalamity lacks a steady narrative drive; its speeches are too long, and its themes become repetitive.
  19. A number of talented performers are stymied by this mediocre material.
  20. The Taqwacores aims for a provocative, anarchic cool by juxtaposing Islam and punk rock. But the storytelling is so muddled and the filmmaking so unpolished - and not in a good way - that mostly this movie is just unpleasant. It's also not nearly as insightful as it thinks it is.
  21. Ms. Taymor's overscaled sense of stage spectacle can be impressive and effective, even moving, but her three-dimensional, high-volume compositions translate awkwardly into the cosmos of cinema, which turns her pageantry into mummery and the physical exuberance she likes to draw from performers into mugging.
  22. Once again, Bob Fosse's "Cabaret" haunts the stage with derbies and splayed legs, but with results that are strictly Sally Bowdlerized.
  23. Mr. Kretschmann holds your attention through each whining complaint and bland denial. His character may be banal, but his portrayal is the only thing that keeps you watching.
    • 53 Metascore
    • 40 Critic Score
    Were it not for a masterly production coup - an extensive interview with the camera-shy Mr. Koufax - this slight and unambitious work would be wholly indistinguishable from basic-cable filler.
  24. There is all kinds of potential here, but Mr. Haggis lacks the Hitchcockian sense of mischief to make it blossom.
  25. Be aware: if you see the film in a theater equipped with RealD 3D and Dolby sound, you'll come away with a pretty good idea of what it would feel like to have flying body parts hit you in the face.
  26. A sequel with far less color and cinematic imagination, and many more bells and whistles, including a freakishly special-effected Mr. Bridges going mano a mano in cyberspace with the grizzled real deal. Twice as much Jeff Bridges does not necessarily mean twice as much entertainment - bummer.
  27. There's exactly one thing about the misbegotten big-screen Yogi Bear that might make you think back with any fondness to the Hanna-Barbera cartoons on which it's based. That would be Justin Timberlake's charming performance as the voice of Boo-Boo Bear.
  28. Ong Bak 3, which picks up the largely incoherent story of the rebel prince Tien battling evil lords and demons in some mythical pocket of Thai history, is actually less bloody than its predecessor.
  29. An assaultive fiction about Liberian child soldiers made with boys and girls who actually fought in that country's recent war, left me wrung out - furious, confused, deep in thought.

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