The New York Times' Scores

For 9,905 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 Valentino's Ghost
Lowest review score: 0 Prince of Swine
Score distribution:
9,905 movie reviews
    • 35 Metascore
    • 40 Critic Score
    Like "The Wiz," though, Xanadu is desperately stylish without having any real style. A dance number featuring two teams of dancers -one group dressed as punks, the other in 1940's garb - winds up a terrible mess, because the two groups aren't dressed or choreographed to have anything to do with one another.
  1. Laws of Attraction, like the somewhat better "Intolerable Cruelty," seems desperately unsure of itself at crucial moments.
  2. There are interesting ideas here, but they are swallowed up in dull, poorly choreographed shootouts and other action nonsense.
  3. This movie feels phony and slick, as if it were cooked up by Darrin's cynical ad agency, rather than at his aunt's stove down in Montecarlo.
  4. There is a grungy high spirit during the first third of this film, but then it dissipates like a mist from an aerosol can.
  5. 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.
  6. What limits The Guys -- what makes it an exercise in art therapy rather than a work of art -- is its decorous refusal to probe deeply into its characters, or to exploit any of the dramatic potential their accidental relationship might contain.
  7. This might be more entertaining if any of the three main characters were at all likable.
  8. Though Mr. Noé displays prodigious filmmaking technique, his punk-operatic meditation on life, love, anger and -- most important -- guilt is superficially inventive, but singularly adolescent.
  9. Loud, frantic, ridiculously overproduced and featuring a preening performance by Val Kilmer as a supposedly brilliant master of disguise, The Saint is sheer overkill.
  10. Ordinary lives have become an ordinary film.
  11. This glib, overheated film about vicious primates delivers little suspense, nor are there signs of the 65 cited volumes and articles that turned Mr. Crichton's book into such a learning experience.
  12. A bad-taste comedy with a heart.
  13. It’s a job requirement for a show host like Mr. Uygur to project his personality and beliefs; this filmmaker doesn’t muster a healthy skepticism to match.
  14. Though Weil remains fascinating, Ms. Haslett's film, even when it uses more traditional documentary techniques, mostly isn't.
  15. The cast does a fine collective job, and Mr. Brill’s script flirts with clever charm here and there. But the whole film is a missed opportunity because the situations repeatedly defy credibility, and the humor never says anything remotely fresh about human nature or the world we live in.
  16. It’s all very solemn, convoluted and a bit bloody, but not engrossing, despite impressive cinematography by Jasmin Kuhn and Mr. dela Torre and the best efforts of a hard-working cast.
  17. As children's film premises go, this is a cute one, but the execution is a failure.
  18. The tone ranges from wounded to disgusted, but a movie positing this deep a rot in the system needs to be more measured and better made to take hold.
  19. 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.
  20. Mr. Morel's predilection for murky, nearly pitch-black cinematography and spare, elliptical dialogue indicates his debt to filmmakers like François Ozon and Claire Denis, but Three Dancing Slaves lacks the psychological precision of Mr. Ozon's or Ms. Denis's work.
  21. This kind of glance at history is a poor substitute for a hard, steady and expansive examination.
  22. As is often the case when ambitious young filmmakers have murder and profit on their minds, Mr. Alvart is finally less interested in the nature of man than in the cool stuff you can do with a camera, which he tosses about the set, swooping it up and down and all around, without rhyme or reason.
  23. If the movie had more courage, it would lay waste these people as hilariously as Robert Altman's film "A Wedding." But as its bad vibes accumulate, Cheerful Weather exhibits all the energy of a disgruntled wedding guest muttering complaints under his breath.
  24. A lower echelon of musical comedy hell (or heaven, if you love the hoariest musical comedy clichés).
  25. Puzzles more than it pleases.
  26. Unfortunately the clips themselves are so battered, grainy and sordid that they are more depressing than inspiring.
  27. Relatable doesn’t have to mean routine, but Mr. Reiner doesn’t always bother to tell the difference.
  28. A turgid, foursquare naval epic.
  29. While Mr. D’Silva’s basic structure and pacing are fairly fluid, his movie suffers from Bollywood’s typical kitchen-sink approach to filmmaking.

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