The New York Times' Scores

For 13,072 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 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 American Movie
Lowest review score: 0 Harold
Score distribution:
13072 movie reviews
  1. The movie, written and directed by Vidi Bilu and Dalia Hager, is really a study of people coping with excruciating boredom and the absurd aspects of military life.
  2. Throughout Grbavica the desire to forget and the need to remember are at loggerheads. At Sara’s school the psychological wounds of the war are being handed down to her generation through the separation of heroes and nonheroes. Fathers pass their weapons down to their sons. Even as you leave a war behind, you bring it with you.
  3. The main tribute in Guard, however, is to Mr. Bachchan, an aging Bollywood monument (and father of the rising actor Abhishek Bachchan), whose sunken, heavy-lidded eyes, grizzled countenance and noble bearing indisputably convey the presence of a seasoned star.
    • 49 Metascore
    • 50 Critic Score
    As a director, Mr. Perry has his strong points, including a genuine interest in showing the resilience of African-American life and traditions (including church sermons and blues music, which are accorded equal significance here). But those aspects get lost in this turgid and ungainly film.
  4. While there is not much chemistry between Mr. Grant and Ms. Barrymore, they are professional enough to work with the movie's conceit while sending flickers of idiosyncratic charm off the screen.
  5. Bamako is something different: a work of cool intelligence and profound anger, a long, dense, argument that is also a haunting visual poem.
  6. Silly, slack and unforgivably tedious, Thomas Harris's screenplay is padded with interminable flashbacks and a bombastic score that telegraphs every emotion Hannibal represses. And there are a lot of them.
  7. Not exactly uproarious. But Mr. Murphy, going back at least to his Gumby and Buckwheat days on "Saturday Night Live," has always had the ability to turn broad caricature into something stranger and more inventive.
    • 76 Metascore
    • 80 Critic Score
    Epic and raw, Black Friday is cut from the same bloody cloth as "Salvador" and "Munich."
    • 37 Metascore
    • 60 Critic Score
    Handsomely produced, earnestly performed and 100 percent irony-free, The Last Sin Eater is religious art for mainstream consumption.
  8. Notes on Marie Menken shines a quavering if welcome ray of light on a largely forgotten figure in the American avant-garde film scene of the 1940s, ’50s and ’60s.
    • 38 Metascore
    • 70 Critic Score
    A thoroughly professional comedy, well paced, attractively photographed and smartly acted.
  9. This kind of glance at history is a poor substitute for a hard, steady and expansive examination.
  10. A mild exercise in deliberate mediocrity, with chuckles and heartwarming moments distributed as carefully as nuts in a factory-made brownie. The movie's lack of ambition is hardly surprising, but both Ms. Moore and Ms. Keaton, who can wring flustered comedy out of the mildest provocation, deserve better.
    • 34 Metascore
    • 50 Critic Score
    Like too many horror pictures, The Messengers becomes more boringly prosaic as it goes along, and there's an 11th-hour plot twist so dumb and poorly articulated that it destroys the movie. That's a shame, because shot for shot, the Pangs might be the most terrifying filmmakers alive.
  11. Exploitation cinema of the most narcoleptic kind.
    • 70 Metascore
    • 70 Critic Score
    So much of American pop thrives on a bratty facsimile of courage that when you see the real deal, it's a revelation. East of Havana is the real deal.
  12. Feels like a desperate attempt to stretch a flimsy half-hour made-for-cable concept into a feature film.
  13. With In the Pit [Rulfo] isn't advancing any totalizing theory, a treatise on transportation or an argument about alienation; he is, rather simply and elegantly, revealing the secret human face of a seemingly inhuman world.
  14. It all looks easy when it's carried off this smoothly. But as any number of stilted duds can attest, applying a Philip Barry or Woody Allen sensibility to 21st-century New Yorkers in their 30s is as delicate a craft as diamond cutting.
    • 41 Metascore
    • 40 Critic Score
    If earnestness equaled skill, Constellation would be a classic.
    • 77 Metascore
    • 80 Critic Score
    Bet on Tazza to entertain; you can't lose.
  15. Like most films of this type, Room 314 demands a great deal from its performers, not all of whom withstand the intense scrutiny. Fortunately, the action is bookended by four of the best.
  16. Its ideological leanings are evident and unsurprising, but more screen time for Mr. Nader's pre-2000 (or pre-post-2000) adversaries would have made a richer film.
  17. Uninvolving and cliché-ridden (even shape-shifters, it seems, deserve a falling-in-love montage), Blood & Chocolate is "Romeo and Juliet" with fewer manners and more exotic dentition.
  18. Although I find the term "chick flick" odious, I imagine that Columbia Pictures regards Catch and Release as exactly that, although there are signs that Ms. Grant was reaching for something more layered and subtle than the usual fairy-tale formula
  19. The humor is coarse and occasionally funny. The archly bombastic score, by Edward Sheamur, is the only thing you might call witty. But happily, Jennifer Coolidge and Fred Willard show up, as the White Bitch and Aslo the Lion, to add some easy, demented class.
  20. A Viagra suppository for compulsive action fetishists and a movie that may not only be dumb in itself, but also the cause of dumbness in others.
  21. Archetypes and symbols solemnly parade through Seraphim Falls, a handsome, old-fashioned western of few words and heavy meanings that unfolds with the sanctimonious grandeur of a biblical allegory.
    • tbd Metascore
    • 60 Critic Score
    While Shockproof”will inspire more groans than gasps, it's essential viewing for fans of Mr. Fuller and Mr. Sirk.

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