The New York Times' Scores

For 11,342 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Heading South
Lowest review score: 0 Elite Squad
Score distribution:
11342 movie reviews
  1. The director, Tom Harper, seems less interested in allegory than in monotonous, conventional goosing, the kind that involves flickering lights and a creaky rocking chair.
  2. "Revolutionary Road" is the kind of great novel that Hollywood tends to botch, because much of it takes place inside the heads of its characters, and because the Wheelers aren't especially likeable and because pessimism without obvious redemption is a tough sell.
  3. A painfully sincere study in creative passion, sexual ardor and political zeal that embalms a mad and exuberant historical moment within the talky, balky conventions of period-costumed highbrow soap opera.
  4. Despite the film’s sketchy aesthetic and barely animate lead, its tone is carefully contrived: I’ll wager no one in your circle is as dryly funny or spontaneously surreal as Harmony’s nonsupport group.
  5. Vanity Fair has a deeper conceptual confusion. In mixing satire and romance, the movie proves once again that the two are about as compatible as lemon juice and heavy cream.
  6. Though Ms. Rapace is a fine professional scowler, with cheekbones that thrust like knives and a pout that’s mostly pucker, she tends to register as an intriguing idea instead of a thoroughly realized character. She more or less looks the part that the filmmakers don’t let her fully play.
  7. Had it had the concision and symmetry of a classic French farce, Après Vous could have been an irresistible laugh machine.
  8. Only twice does the film give a tantalizing glimpse at the personality behind the voice.
  9. Christoph Baaden, the director, loses sight of the fact that, for people who don't run, the cult of running is kind of boring.
  10. The film reawakens long-repudiated notions of white supremacy and such, but Mr. Roth is surely not trying to peddle them. He’s merely seeing if he can replicate the formula of the subgenre. And he does, fairly slickly, in fact.
  11. A bit overstuffed with history and tales of perseverance, the film doesn’t have room for balanced political analysis or even exposition at times. It’s an omission that feels like a missed opportunity, but maybe that will be resolved in the next installment.
  12. Some of this is awfully pedestrian, but there are moments of both high comedy and high drama.
  13. The film fails to convey the claustrophobic terror experienced by a man who called his book "Letters From Hell."
  14. Most often Mortem just lacks bite, and the dedicated leads seem at times a little slight for the staging of a struggle at eternity’s edge.
  15. Ultimately feels like a clinical study without wider resonance.
  16. Some wonderful actors add class to the material, which struggles to find a consistent register of cartoonishness.
  17. Ms. Burdge — all quicksilver emotion and exposed nerve endings — is an endlessly watchable focal point. Her character’s vulnerability, uncertainty and growing self-acceptance lend the movie a necessary gravity.
  18. It strings along its joke just long enough to keep from wearing out its welcome.
  19. Her (Ms. Scherfig) eccentric eye and offbeat rhythm sustain One Day through its stretches of banality and mitigate some of its flaws.
  20. Despite its hip, off-center style and pointed de-glamorization of its singles, the movie adds up to little more than feel-good fluff.
  21. The bits of Aboriginal lore imparted along the way by Tadpole add flavoring to a sugar-coated romp that has the craft of a high school revue.
  22. Doesn't add much to the coming-out genre, as it has been established in countless Sundance competition films and made-for-television movies.
  23. The writer and director, Mark Goffman, sticks to a no-frills style that makes the film feel longer than its 1 hour 24 minutes.
  24. Stir Crazy is an energetic but spiritless shambles.
  25. Although the odds are against them, Mr. Gazzara and Ms. Moreno succeed in cutting through the forced sitcom banter to create a credible and touching portrait of a marriage of two proud individuals who respect each other even in moments of strife.
  26. Mr. Perry, a New York University graduate whose second feature, "The Color Wheel," provoked passion and puzzlement at several festivals, has a natural eye, an offbeat sense of rhythm and no great interest in conventional storytelling. This is both intriguing and a bit tiresome, as Tyrone stumbles and mumbles his way through a series of inscrutable encounters.
  27. Mr. West retains his signature restraint and slow-burn approach to brutality. Missing, however, is his typically skillful manipulation of tension, partly because his tone veers so often from jokey to reverential, from winking at the western to making a sacrament of it.
  28. There’s claustrophobia to burn in Steven C. Miller’s Submerged, a modest thriller offering glints of talent amid predictable plot threads.
  29. The direction occasionally rises to the level of marginal competence, but for most of the film it is hard to tell who is chasing who or why.
  30. Because the material gives off such a delicious vibe, even though the movie itself feels a little old, you want to like Simone. It would be easier if it were a more forceful comedy. But Mr. Niccol's style is that of reticence -- as a director, he's a little coquettish.

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