The New York Times' Scores

For 10,492 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
Score distribution:
10,492 movie reviews
  1. Does a yeoman's job of recycling the day-old dough that passes for its story.
  2. "Generations" is predictably flabby and impenetrable in places, but it has enough pomp, spectacle and high-tech small talk to keep the franchise afloat. And in an age when much fancier futuristic effects can be found elsewhere, even its tackiness is a comfort.
  3. Mr. Harrelson seems appealingly goodhearted, but his naïve idealism leaves him always on the edge of self-parody.
  4. As Maria crumples before our eyes, many will find Stations of the Cross heartbreaking and infuriating. Others may laugh out loud at her mother, a walking nightmare of pious, punishing rectitude.
  5. Mr. Webb's Spider-Man movie works only because he keeps the whole package, at least until the requisite final blowout, tethered to his two appealing leads.
  6. Its humor is softer and more ambiguous than that of Ms. Shelton’s earlier films, and its characters are harder to pin down.
  7. Shamelessly stirring, brandishing Mr. Gibson's anguished masculinity like a musket. It may be effective, but you leave the theater feeling used.
  8. Lovely though it is to look at, it does not reveal very much. Sampling the works of three prominent directors in one sitting may be what gives anthology films like this one their appeal, but the experience is often more frustrating than fulfilling.
  9. As fizzy as the first, but not quite as refreshing. The pleasurable, eye-popping sense of surprise has diminished, and the teasingly referential attitude shows signs of fatigue.
  10. Animal people sometimes say the wackiest things, but here, alas, they never satisfyingly address the ethical questions of what it means to capture and keep wild animals. Happily, while this movie's head may not always be in the right place, its heart is.
  11. The insensitivity of the news media and law enforcement is an implicit acknowledgment of the gap between men and women on the issue; in the film's view men just don't get it. And the submerged rage that wells up in Nira and Lily is boiling hot. The film is less successful in depicting their personal lives.
  12. You may be taken by the director's enormous enthusiasm, but the picture doesn't quite work.
  13. Awakenings both sentimentalizes its story and oversimplifies it beyond recognition. At no point does the film express more than one idea at a time. And the idea expressed, more often than not, is as banal as the reality was bizarre.
  14. It's a much funnier movie than the trailer would lead you to believe; it would almost have to be. But it is just not as consistent as their previous trash wallows.
  15. A strange, disturbing and yet occasionally quite funny cultural artifact from the new Russia.
  16. Suffused with a glow of apple-cheeked nostalgia that often clings to baseball movies. The movie may be set in the present, but its likable clean-cut twins exude more than a whiff of gee-whiz 1950s innocence.
  17. Reminds us that when it comes to comedy, it's all in the writing. Mr. Kalesniko's satirically barbed screenplay, whose spirit harks back to the comic heyday of Blake Edwards, stirs up an insistent verbal energy that rarely flags.
  18. Arise always feels unified, a genuinely felt and executed womanist letter to the world.
  19. The best scenes are the contests in which the competitors hammer away, executing the kind of grand flourishes with each return of the carriage that Liberace exhibited at the piano.
  20. What could have been a very funny short film about self-control and befriending your id instead becomes a rambling commentary on father-son dysfunction and the limits of proctology.
    • 63 Metascore
    • 60 Critic Score
    Part 1, directed by David Bruckner is superb, with affecting performances, a sense of dread reminiscent of John Carpenter’s “Prince of Darkness” and many striking images. Part 2, directed by Dan Bush aims for George Romero-style ghastly humor, but it’s more grating than funny. Part 3, directed by Jacob Gentry adds a splash of tragic love, but its preference for gore over feeling becomes monotonous.
  21. Honeydripper is agreeable, well-intentioned and very, very slow. Sadly, it illustrates the difference between an archetype and a stereotype. When the first falls flat, it turns into the other and becomes a cliché.
  22. Ms. Rappoport’s sturdy performance helps keep this outlandish melodrama from collapsing into unintended comedy.
  23. Think of this movie as a greatest-hits package, with some good stuff to show but nothing very new to say.
    • 59 Metascore
    • 60 Critic Score
    Mr. Stewart dilutes the movie’s urgency by framing the subject within a “personal journey” format and selling himself as a hunky, sensitive martyr.
  24. The movie does have its own kind of blockheaded poetry.
  25. Both entertaining and empty: an emotional shell game that leaves you feeling cheated even though, on the surface at least, everyone is a winner.
  26. A candy-colored never-never land that Peter Pan might envy.
  27. Ego struggles and innovator's laments (nobody gets us!) are a refrain in many band documentaries. How to Grow a Band adds a modest but effective entry to the genre's back catalog.
  28. This weirdly engaging tale of banking and bad behavior makes 19th-century China look uncomfortably like 21st-century America.

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