The New York Times' Scores

For 11,863 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% 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: 60
Highest review score: 100 Up the Yangtze
Lowest review score: 0 Vice
Score distribution:
11863 movie reviews
  1. Dom Hemingway is a bright, shiny bauble with next to no lasting power.
  2. Mr. Jarecki forcefully, if not with wholesale persuasiveness, argues that our business is specifically war.
  3. The movie's good intentions are consistently undermined by its simplistic notion of redemption, and its inspirational thrust is diluted by an epilogue that suggests the program still has a ways to go in the life-altering department.
  4. The shortened version is lovely to look at, but the stilted dialogue and crude overdubbing in scenes where English is not spoken often make it an impenetrable hodgepodge.
  5. Mike Binder’s steady, well-intentioned exploration of the racial tensions affecting two branches of a Southern California family, is notable for what it doesn’t try to do.
  6. Christopher Plummer puts on a master class in acting, and his director, Atom Egoyan, delivers one in audience manipulation in Remember.
  7. The film, like its subject, frustrates in its inability to focus; there is no deep inquiry into what makes Anderson tick. It’s like skimming a stone across a lake.
  8. Unfortunately, the movie lacks strong enough players to fill in subtext to Mr. Kent’s formulaic setups, and the story flounders once Ms. Posey is out of the picture.
  9. While the results are more creepy than charming — too childish for adults, though not necessarily too dark for children — it is hard to fault Mr. Goodwill for trying.
  10. A feel-good and slightly bad comedy-drama about a young man's fight against cancer, aims to put a tear in your eye and a sob in your throat, if not for long.
  11. As impressive as it is in the abstract, all the detail ultimately drags the movie down and lengthens it unnecessarily.
  12. Maddeningly, purposefully evasive.
  13. A sturdy, well-made piece that never quite overcomes its structural flaws.
  14. The most curious thing about this magical-realist fable...is how thin and soft it is, how unpersuasive and ultimately forgettable even its most strenuous inventions turn out to be.
  15. A chronicle of obsession ought to provide some insights.
  16. And Willow, a pleasant but bland character, doesn't often inspire much sentiment, so the film lacks an emotional center. In place of this, it relies on so much overstatement and repetition that it's possible to grow tired even of the adorable baby.
    • The New York Times
  17. If the film's old-movie homages are affectionate, they're slavishly imitative and scattershot, and the story is so willfully daffy that not even the hint of a subtext asserts itself. The film rides on the dubious assumption that camp and infantilism are the same thing.
  18. For every lively moment, there’s a reminder that the franchise is tiring.
  19. It reminds us that Italy is beautiful, that Fascism was a dreadful nuisance and that Sean Penn is a great actor, deserving of better vehicles than this vintage lemon.
  20. Darts nervously between soap opera and sitcom, rarely blending them in a way that lets the two genres enhance each other.
  21. This berserk little B-movie is obviously the greatest zombie flick ever set in an experimental women's prison, easily the underground treat of the season, and totally off its rocker.
  22. [An] endearing muddle, which flails in search of an identity.
  23. Amy
    Warm of heart, modest in polish, Amy provides satisfactions that must be balanced against its flaws.
  24. It’s all very heady and voluptuous, but it’s also painfully superficial.
  25. While Mr. Workman evidently respects Mr. Carbee’s talent, he also frames his movie as a trite narrative about a kind of lovably odd acquaintance who comes out of his shell, without many incisive ideas about shaping or broadening the material.
  26. The screenplay’s pseudo-Austen tone is so consistent that its lapses into modern romance-novel fantasy threaten to derail the film.
  27. On one level, a stereotypical mash of Greek cruelty, queer poetry slams and rabid activist rhetoric. But beneath the tired crudeness and college-romp clichés, the movie is gently perceptive about the malleable nature of sexuality and the barriers we construct to hide our confusion.
  28. Farewell to Hollywood is moving yet queasily unsettling, even if Ms. Nicholson’s enthusiasm mitigates the veneer of exploitation. Watching it feels like judging a last will and testament. The movie is an intimate dialogue from which viewers may prefer to recuse themselves.
  29. Edge of Darkness is reasonably well executed, but its competence reeks of fatigue. Another dead kid. Another angry dad. Another day at the office.
  30. Has its share of funny moments. But it also has its share of tired ones, like the subplot involving the inadvertent swallowing of a ring.

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