The New York Times' Scores

For 10,043 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 The Queen
Lowest review score: 0 Hush
Score distribution:
10,043 movie reviews
  1. The Nut Job features muddy-colored and often ugly animation, a plot that feels too stretched out and loaded with details to hold the attention of most children, and more flatulence jokes than anyone deserves.
  2. The funniest, most reckless moments in The Hangover Part II, the largely mirthless sequel to the 2009 hit "The Hangover," take place in the final credits.
  3. The mystery of Enigma is how a rich historical subject, combined with so much first-rate talent -- a highly capable (if not always exciting) director, a fine English cast, a script by Tom Stoppard -- could have yielded such a flat, plodding picture.
  4. The proliferating subplots require many big emotional confrontations, so the movie seems to reach its climax 20 minutes in, and then every 15 minutes or so thereafter. This is fairly exhausting.
  5. If Kate's hyperkinetic cheer and shrill self-absorption are Carrie trademarks, 13 years after "Sex and the City" first appeared on television, their appeal has all but evaporated. I Don't Know How She Does It seems stuck in the past.
    • 46 Metascore
    • 40 Critic Score
    Rosenmeier's tendency to insert herself at the center of the story - awkwardly drifting into the frame as she interviews local social workers, carefully inspecting institutions as if she were a high-profile ambassador - at first seems slightly immodest. Gradually, it suggests a deeply unsettling level of self-involvement.
  6. The journey from page to screen may have battered Mr. Welch’s novel, but its lamenting heart beats loud and clear.
  7. There is surprisingly little emotional amplitude in the film.
  8. There are a lot of horses but absolutely no sense in The First Saturday in May, a glib, lazy documentary about six trainers on the proverbial road to the 2006 Kentucky Derby.
  9. This undiluted nonsense is best suited to DVD-rental desperation. Still, aficionados of cheap cinematic thrills involving beautiful and stupid young people will be happy to learn that while the film fizzles far more than it sizzles, its director, John Stockwell, is a connoisseur of the female backside, which he displays to great and frequent advantage.
  10. Mildly scary here and there. It does not play by all the horror movie rules (e.g., the black guy always dies first). And the cast is good-looking.
  11. Pared down to a farfetched plot and paper-thin motives, the story relies on an overload of tangential subplots to keep it looking busy. [3 Apr 1996, p.C15]
    • The New York Times
  12. What saves Breaking and Entering from foundering altogether in earnest self-regard is Mr. Minghella's evident affection for London, a city of inexhaustible architectural and human variety.
  13. It's like being trapped in a roomful of teenage girls for 80 minutes.
  14. As the not-so-comic violence and the violent, misogynistic sex pile up, it becomes the kind of black humor in which the joke is largely on the audience.
  15. If Paul Levesque, the professional wrestler better known as Triple H, hopes to follow the career path of, say, Dwayne Johnson, who is now a credible action-adventure leading man, he's going to need movies a lot better than Inside Out to do it.
  16. Cold Turkey has some fine actors who put effort into their roles, but it’s getting harder and harder to care about or laugh at adult characters who have botched up their affluent lives and are still obsessed with events from childhood.
  17. A dopey if largely painless romantic comedy.
  18. Offering neither balance nor solutions (a segment on the overuse of medications like Ritalin is especially powerful, but especially in need of counterargument), The War on Kids questions what kind of citizens we are producing.
  19. The film’s ending, introducing farmers whose lives (and weight) have been changed for the better, sounds enough like an infomercial to undermine the whole enterprise.
  20. The pace is so plodding and the dialogue so unwaveringly banal … that the film can't rise to the extraordinary sensations it means to capture.
  21. 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.
  22. Teeters unsteadily between dystopian fable and Saturday-morning cartoon.
  23. What’s most striking about Extract, beyond the scarcity of jokes and absence of actual filmmaking, is its deep well of sourness, which at times borders on misanthropy.
  24. It’s a remarkable story, even if The Revolutionary, a no-frills documentary drawn from five years of interviews, isn’t much of a movie.
  25. Any movie that makes you root against the underdog, though, is cause for suspicion, and Mr. Smith and Mr. Montana, perhaps aware of this, try belatedly to restore Mr. Duffy's status as a victim.
  26. It’s possible to make a great movie out of family dysfunction, but this one is too short on insight to rank with the best of the genre.
  27. Too predictable to leave much of an impression.
  28. The whole enterprise has a get-off-my-lawn feel; it tries to pass off whining and a rose-colored-glasses view of the past as insight.
  29. Every so often there's a suggestion that a police state may actually be a lousy idea, but this thought dies even faster than the disposable characters.

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