The New York Times' Scores

For 12,313 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 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Timbuktu
Lowest review score: 0 Two of a Kind
Score distribution:
12313 movie reviews
  1. The Girl With All the Gifts doesn’t really venture into new territory, but it does a decent job of reminding us why zombies are so scary, and so interesting.
  2. Before our eyes, Laura’s lengthening limbs and deepening introspection become the point of a movie that begins with a child and ends with a young woman.
  3. Uplifting it may be, but to swallow it whole is to believe in happily ever after.
  4. Mr. Irons handily hits the emotional beats, as does Mr. Patel.
  5. For a Marvel agnostic like me, the single most interesting thing about Age of Ultron is that you can sense that Mr. Whedon, having helped build a universal earnings machine with the first “Avengers,” has now struggled mightily, touchingly, to invest this behemoth with some life.
  6. If Approaching the Unknown isn’t entirely satisfying, Mr. Strong reaches high with his portrayal of the unraveling of a man who believes survival is a matter of engineering.
  7. While most films in which the angry past confronts the guilty present degenerate into mawkish reconciliations, Emile errs on the side of restraint.
  8. This fairly rote tale of rural ghouls and their passing-through prey has its own hick charm, mostly because of performers who never overplay their hands.
  9. Defying the Nazis: The Sharps’ War is a generic documentary about two people who were anything but. Yet even when the film wanes, its subjects still come across as remarkable.
  10. Mr. Trump comes across as an insensitive, lying bully who will do whatever it takes to realize his dream of creating what he promises will be the world's greatest golf resort.
  11. It's not bad enough to be offensive, and the movie's act of affirmation - for all its self-absorption and high levels of pretrip ignorance - addresses an unimpeachable, moving subject and is undertaken with decency.
  12. The documentary stirs up most of its sporadic excitement in the surfing footage, of which there is plenty. The imagery, especially the aerial shots, gives a sense of Mr. Hamilton’s precision and how close he comes to wiping out.
  13. While far from a great movie, nonetheless effectively dramatizes a position that has been argued, by principled commentators on the left and the right, for several years now: that the abuse of prisoners, innocent or not, is not only repugnant in its own right.
  14. Mr. Phillips’s self-deprecating humor is amusing but not funny enough to give him the edge he needs to rise up and conquer.
  15. For all the hype and the inevitable box office bonanza, Terminator 3 is essentially a B movie, content to be loud, dumb and obvious.
  16. Dutifully hitting its marks up to a point, this story of a married man struggling to stay closeted proves to have a maturity that eludes more overtly ambitious dramas on the subject.
  17. When you add it all up, Only Angels Have Wings comes to an overly familiar total. It's a fairly good melodrama, nothing more.
  18. Has some good performances (Ms. Moore's ongoing snit is a terrifically sustained bit of glowering), but it only barely begins to knit its self-pitying characters into a credible family unit. They are oddballs with attitude.
    • 61 Metascore
    • 60 Critic Score
    He's tall, dark, handsome and has a dimpled chin. But Mr. Lazenby, if not a spurious Bond, is merely a casual, pleasant, satisfactory replacement. For the record, he plays a decidedly second fiddle to an overabundance of continuous action, a soundtrack as explosive as the London Blitz, and flip dialogue and characterizations set against some authentic, truly spectacular Portuguese and Swiss scenic backgrounds, caught in eyecatching colors.
  19. In Infinitely Polar Bear, Ms. Forbes hasn’t made a movie about her father’s illness; she’s made one about her father, who, through hard and weird times, clearly helped give her what she needed so that one day she could tell this story.
  20. Simultaneously stirring and dispiriting.
  21. The Underneath is too chaotic to work as a thriller. The suspense kicks in too late and blends uneasily with the rest of the film. But the movie has other sorts of appeal. At heart, it is not a lurid, noir story but a study of characters caught in an emotional disaster.
  22. Cars could easily have been the stars of Lowriders, but the film makes them supporting players in a family drama that’s a mix of strong scenes and shopworn ones punctuated by clichés.
  23. King Georges feels stretched into feature length, but its ending neatly portrays a man with a fierce personal code who seems to have accepted change.
  24. Matty Beckerman’s Alien Abduction repackages ancient legend for modern audiences in a found-footage story of streamlined efficiency.
  25. The approach is cheerfully candid and the humor often sly... Yet this midlife confessional could have reached beyond the maternal cravings of highly educated, urban-dwelling singletons had it plumbed people’s heads as thoroughly as Ms. Davenport’s birth canal.
  26. Not since the latest fashion layout flirted with arty desolation, has misery looked this fabulously pristine.
    • 49 Metascore
    • 60 Critic Score
    Skimps on intellectual substance but skirts by on the lightly likable charm of its subject.
  27. The ending to this fable misses the opportunity for broader metaphorical resonance, but getting there has its own unnerving rewards.
  28. Much like its young hero, played by Daniel Radcliffe, the film has begun to show signs of stress around the edges, a bit of fatigue, or maybe that’s just my gnawing impatience.
  29. Though the film has its basis in an actual event that took place in St. Louis, it takes on the homogeneous look of many other thrillers in which an emergency escalates into a paramilitary operation.
  30. The new film has at least some of its predecessor's appeal. But it can't match the first film's novelty, or recapture the excitement of watching a great comic character like Axel Foley as he first came to life.
  31. Like its source material, Baywatch is sleazy and wholesome, silly and earnest, dumb as a box of sand and slyly self-aware. It’s soft-serve ice cream. Crinkle-cut fries. A hot car and a skin rash. Tacky and phony and nasty and also kind of fun.
  32. Given the aesthetically confrontational nature of the piece, one can understand why Mr. Rossi did not attempt an undiluted cinematic translation of the complete Bronx Gothic. But something about his approach (which I assume was approved by Ms. Okpokwasili, as she is one of the movie’s executive producers) feels, finally, like an evasion.
  33. Amusing but sloppy and overcomplicated.
  34. As erratically enjoyable as it is consistently ridiculous, the martial arts pastiche The Man With the Iron Fists is the latest evidence that the vogue for neo-exploitation cinema shows no sign of flagging.
  35. Bathed in a funk of testosterone, and heaving with homophobia and misogyny, My Father Die is a trashy jewel.
  36. Nobody eviscerates the scary depths of male narcissism with such ferocity, and it is a huge relief to find Mr. Stiller flexing his oiled, low-comedy triceps with such vengeful glee.
  37. Heavy with emotion yet light on information, 500 Years has the curious effect of being both passionate and pale. You may find yourself championing its subjects even while feeling confounded by the omission of details by its filmmaker.
  38. The songs are unmemorable and the choreography less than twinkle-toed, but the lyrics are a delight.
  39. Still, despite the visual clumsiness and the production's tattered seams, I found myself rooting for this movie anyway, partly because Lindsey and Ben make a nice fit, as do the actors playing them, partly because the Farrellys bring so much heart to their movies, and partly because Ms. Barrymore inspires more goodwill than any other young actress I can think of working today in American movies.
  40. At once a sick comedy, a bile-raising thriller and a genre pastiche, Save the Green Planet is a welter of conflicting tones, dissonant moods and warring intentions.
  41. Hotel de Love, the directing and screenwriting debut of Craig Rosenberg, is like a Valentine's Day box of heart-shaped chocolates that all have the same too-sweet cherry fillings.
  42. Given the audacity, gusto and hell-for-leather filmmaking on display, the prospect of subsequent installments does not seem unreasonable.
  43. None of it is quite believable -- the film is too studied, too forward in its conceits to be entirely satisfying -- but Mr. Eckhart and Ms. Bonham Carter approach their roles with intelligence and conviction.
  44. That understated style at times makes Green Card seem too stiff and vacuous, as if Mr. Weir were inspired by the surface of a Jane Austen work and left out the wicked social observations. But the film is magnificently redeemed by Mr. Depardieu.
  45. Such an amalgam of fairy tales, old movies and tabloid stories that it never develops a life of its own.
  46. The brisk clip and dashes of dark humor ward off actual despair, but the length poses challenges for some of the heavy lifting of character growth.
  47. Like most documentary polemics, it simplifies the issues it confronts and selects facts that bolster its black-and-white, heroes-and-villains view of raw economic power.
    • The New York Times
  48. Mr. Gleeson, Mr. Farrell and especially the late-arriving and welcome Mr. Fiennes have great fun rummaging around inside Mr. McDonagh’s modest bag of tricks.
  49. Zoom, crash, repeat with squealing, burning and flaming tires — it’s all predictably absurd and self-mocking, and often a giggle when not a total yawn.
  50. Mr. Brooks's vision of ''Star Wars'' and its underlying silliness cannot help but wear thin. But Spaceballs has none of the aggressively unfunny humor that has marred some of Mr. Brooks's other recent efforts, and its spirits remain consistently high.
  51. Split is lurid and ludicrous, and sometimes more than a little icky in its prurient, maudlin interest in the abuse of children. It’s also absorbing and sometimes slyly funny.
  52. The action and humor are enough to make an hour and a half pass quickly and pleasantly.
  53. Does it add up? Not really, but it passes the time nicely, working best when Mr. Monahan keeps it vague and off-kilter as his characters roam among the Hollywood ghosts.
  54. The movie goes flat, though, when Mr. Siri and his co-writer, Patrick Rotman, shift their attention from the action to the moral math of guerrilla warfare.
  55. Splinterheads gains traction from an eclectic cast that knows how to work a line.
  56. Much of the time, unfortunately, the responsible, institutional filmmaking of Unlikely Heroes, from Moriah Films, an arm of the Simon Wiesenthal Center, does not do full justice to these stories.
  57. In Volcano, the thrills are so well wrought that they eventually lose their novelty and become numbing.
  58. All in all there’s not much to complain about here, except that — as with a lot of revisited classics — the story’s not as revolutionary as you remember it. For veterans of the 1982 Poltergeist, it’s more like scary but pleasant nostalgia.
  59. The medium is more palatable than the saccharine message because Hopkins and Gooding know how to put on a show.
  60. Enormously likable, partly because it is aware of its own grasp of the absurd.
  61. Simultaneously fascinating and vexing in ways that might tax informed devotees of both baseball and film.
    • 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.
  62. By the end, instead of feeling stirred to a high pitch of anxiety and excitement, you may feel battered and worn down. But not, in the end, too terribly disappointed.
  63. As a purely emotional experience it succeeds without feeling too manipulative or maudlin. I mean, it is manipulative and maudlin, but in a way that seems fair and transparent. Still, it isn’t quite satisfying.
  64. The film is at its strongest when Russell and Kevin face tests of their character brought on by their interactions with homophobic students.
  65. To enjoy The Devil’s Candy, then, one must tolerate slapdash writing (by the director, Sean Byrne) and profoundly irritating adult behavior. Yet Mr. Byrne...somehow whips his ingredients into an improbably taut man-versus-Satan showdown.
  66. Reveling in the vivid Bangkok locations, Geoff Boyle’s photography is crisp and bright, and Dion Lam’s action choreography unusually witty.
  67. It is a potpourri of arcane and familiar genres. "Mash-up" doesn't begin to capture this hectic hybrid; it's more like a paintball fight. Messy and chaotic, in other words, but also colorful and kind of fun.
  68. Doesn’t have the original’s wooden performances, puffy clothes and hairdos or its amusingly crude special effects, but it does share its blood lust.
  69. Oddly charming.
  70. 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.
  71. Written and directed by Bernard Rose (“Immortal Beloved”), 2 Jacks has a pleasing circular structure, and it doesn’t push the parallels between old and new Hollywood to absurd limits.
  72. Mr. Lee’s film is more traditional than its sexually frank humor might indicate, with faith and charity ultimately given pride of place (right alongside human pettiness). But even if some of the crudeness and the drama feel forced, it’s hard to hate.
  73. The wonder is that The Great Debaters transcends its own simplifying and manipulative ploys; it radiates nobility of spirit.
  74. What the movie ends up in desperate need of is a sense of life made real and palpable through dreadful, transporting details, not a life embalmed in hagiographic awe.
  75. Until it transforms into an improbable thriller, Turn the River is a finely observed portrait of a desperate working-class woman who refuses to play by ordinary rules.
  76. Unlike those in the book, who speak through e-mails, diaries, letters and interviews, the characters here leave the impression of giving harmless nibbles instead of flesh wounds. Defanged and pushed into the background, the satire vanishes, and you are left with an agreeable romantic comedy.
  77. Nick might usurp most of the screen time, but it’s Mr. Del Toro, face flickering from benevolent to vicious and body heaving with literal and symbolic weight, who seizes the film.
  78. The film doesn’t unearth anything that hasn’t already been voiced, and it could use more details on the scope of the phenomenon. But with more police shootings in the headlines just in the past few days, it’s nothing if not timely.
  79. Bonobos: Back to the Wild is an uncomfortable mix of fictionalized account and nature film, but you have to admire the work it documents.
  80. In much the way that Raymond stays detached, the performance seems to exist outside the film but, instead of illuminating Rain Man, it upstages the work of everyone else involved. [16 Dec 1988, p.C12]
    • The New York Times
  81. Despite its deficiencies, Naz & Maalik feels authentic, and Mr. Johnson and Mr. Cook bring their characters completely alive.
  82. The most remarkable thing about Queens, a silly but generous Spanish farce from the writer and director Manuel Gómez Pereira, is its unadulterated worship of middle-aged women.
  83. Yes, The Theory of Everything has a different emphasis. But like so many cinematic lives of the famous, it loses track of the source of its subject’s fame.
  84. Art executed under the most excruciating conditions deserves a far more searching study than this too short film, which has the structure of a hurried checklist. Even so, a lot of the art shown in the documentary, often side-by-side with photographs of the same places and events, is compelling.
  85. As inspiring as it is, Doing Time, Doing Vipassana is too sweet for its own good; it plays like a spiritual infomercial.
  86. Marveling without questioning, the movie is content to package the phenomenon and coast on its feel-good wave. Yet, somewhere around the midpoint, I began to wonder who was most thrilled by all this fuss.
  87. Throwdown milks its emotion from a soap-opera score and the appealingly decadent performances of Mr. Koo and Ms. Ying.
  88. Quietly inflammatory film.
  89. Settles for being an atmospheric scenes-in-the-life biography of someone's most unforgettable character. It could have been so much more.
  90. Mr. Cruise’s brisk, ingratiating performance — all smiles, hard-charging physicality and beads of sweat — does a lot to soften the edges. But Mr. Liman doesn’t press Mr. Cruise to dig into the character, and the actor mostly hurdles forward in a movie that never gets around to asking what makes Barry run and why.
  91. At times you wish Mr. Marx had sharper storytelling skills (or a better editor). Some important details seem clear only in retrospect, and some remain murky. Still, Mr. Marx shines a light on a place and a way of life that are rapidly changing.
  92. Grounding the zaniness is the chemistry between its two likable stars. Beneath their crusty eccentricities, Max and John are teen-agers at heart, a Wayne and Garth for the "Modern Maturity" set. As Max, his leathery face beaming with pleasure, might put it: "Holy moley, is this a dumb movie!" But it is also fun.
  93. What's missing from the film is any urgent interior meaning, and this it may be because of the distractions of the exterior details. It may also be because the conflicts that rage within Lancelot — between duty and desire, courtly love and physical love — simply aren't complex enough to bring out the best in Mr. Bresson.
  94. We’re left once again feeling we’ve had only a glimmer of illumination on a vexingly complex problem.
  95. As she does, Ms. Theron locks down your attention immediately, holding you with her beauty and quiet vigilance.
  96. So it looks as though this film simply makes more goose pimples than sense, which is rather surprising and disappointing for a picture with two such actresses, who are very good all the way through it, and produced and directed by the able Robert Wise.
  97. If you can endure the messy slaughter, with a body count in double digits, the plot is not without its rewards.

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