The New York Times' Scores

For 12,505 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 3.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Life Itself
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
12505 movie reviews
  1. Closure may be missing, but at least glimpses of promising Canadian performers are in abundant supply.
  2. This sly documentary rises above its speculative hook by shifting to show the very human, and very mortal, sides of these would-be warriors of eternity.
  3. When karate is not being treated as the latest excuse for an Impossible Dream success story, and when the film is able to find more in Daniel's martial-arts career than pure Rocky-esque competitiveness, The Karate Kid exhibits warmth and friendly, predictable humor, its greatest assets.
  4. This small, observant movie, directed and written by Kerem Sanga, is the better for not going in predictable directions. A story that you half-expect to turn into a melodrama stays true to the sensibilities of its immature, painfully sincere characters, who are faced with life-changing decisions.
  5. The Second Mother goes soft toward the end, defusing its conflicts too easily and inconsequentially.
  6. The movie is so small and emotionally constricted that it gives Hoffman too little room to explore his range.
  7. A tale of negligent homicide, class warfare, vengeance, jealousy and murder, Stephen King's Thinner has the outlines of Shakespearean tragedy and the intellectual content of a jack o'lantern. But as such ventures go, this Halloween handout is more treat than trick, if your tastes run to dripping blood and repellent skin ailments. The production is slick, the Maine scenery is bracing, the characters are well-acted, and in a mumbo-jumbo movie with a few loose ends, the makeup central to the plot and applied by Greg Cannom and Bob Laden to Robert John Burke in the leading role is most admirable.
  8. Neither the screenplay nor the direction has the requisite depth to turn the banality of one unremarkable life into the stuff of Chekhov, much less of Mr. Payne.
  9. The script, by Ms. Stephens and Joel Viertel, though lurching at times into overstatement, is enhanced with worthy if fleeting performances from John Cho and Christopher McDonald as Sam’s colleagues. Ray Winstone, as a journalist, effectively melds sleaze and compassion.
  10. Mr. Ristovski's story (written with Grace Lea Troje) feels a bit underdeveloped, partly because he uses too many lingering, silent shots of Marko and doesn't give the boy much of a voice.
  11. The tick tick tock of the mortal clock gives the science-fiction thriller In Time its slick, sweet premise.
  12. Refreshingly unpredictable but also frustrating.
  13. This affectionate documentary is more of a bonbon for longtime fans than an entryway for a broader audience.
  14. The shocks are short and sharp, the acting is strongest where it counts, and the director of photography, Adam Marsden, washes everything in a swampy green that makes spooks pop.
  15. As drama, Stage Beauty is both timorous and ungainly, words that might also describe Ms. Danes's performance.
  16. You may not quite trust Mother and Child -- its soft spots and fuzzy edges give it away -- but you can believe just about everyone in it.
  17. The movie looks and feels like a frantic, live-action psychedelic cartoon.
  18. A mild lark disguised as a wild bender, The Rum Diary is also a touching tribute to Thompson himself.
  19. When it deepens its intellectual focus, Hockney begins to lose coherence, with rushed sequences that cover his stage designs, his landscapes and his experiments with photography.
  20. The ideological charge leveled for decades at this strain of filmmaking is that such eye-catching tableaus romanticize poverty, but prettified squalor has become sadly familiar in global documentary filmmaking. In Machines, even at barely more than an hour, the style leads to diminishing returns.
  21. It doesn’t really succeed in conveying McQueen’s great passion for auto racing. In truth, it mostly makes him seem like a jerk — but cinephiles might enjoy it as a case study of moviemaking gone wrong.
  22. Superfluous though it may be, The Honeymooners is not so bad.
  23. It would be better if it had a bit less proclaiming and a bit more nuts-and-bolts information, but still, it’s refreshing to see people bubbling over with enthusiasm for an art that is somewhat out of the mainstream.
  24. Nothing you see makes any sense at all, but the sensations are undeniable, and kind of fun in their vertiginous, supercaffeinated way.
  25. The director Mark Neveldine deploys queasy lighting and a trembling score, but his best choice is to let Ms. Dudley stare at us. She conveys unnerving shifts in self-awareness and sinister intent with her eyes.
  26. The fun is contagious.
  27. There is a lot of violence, but not much action; a plot involving vengeance, jealousy and double-crossing, but not a great deal of suspense.
  28. Lost Highway, an elaborate hallucination that could never be mistaken for the work of anyone else, finds Mr. Lynch echoing the perversity of "Blue Velvet," the earlier film of his that this most closely resembles.
  29. This record of Washington State’s battle over Initiative 502, which legalized possession of small amounts of recreational marijuana in 2012, is predictably loaded with rancor. The battle isn’t over whether pot should be legalized, but to what extent.
  30. Given genuine life by the dimpled enchantress Nancy St. Alban, Nora makes palpable the bittersweet love at the honest heart of Some Fish Can Fly.

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