The New York Times' Scores

For 12,424 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 We Are the Best!
Lowest review score: 0 Oconomowoc
Score distribution:
12424 movie reviews
  1. 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.
  2. The songs are unmemorable and the choreography less than twinkle-toed, but the lyrics are a delight.
  3. 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.
  4. 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.
  5. 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.
  6. Given the audacity, gusto and hell-for-leather filmmaking on display, the prospect of subsequent installments does not seem unreasonable.
  7. 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.
  8. 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.
  9. Such an amalgam of fairy tales, old movies and tabloid stories that it never develops a life of its own.
  10. 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.
  11. 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
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. The action and humor are enough to make an hour and a half pass quickly and pleasantly.
  17. 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.
  18. 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.
  19. Splinterheads gains traction from an eclectic cast that knows how to work a line.
  20. 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.
  21. In Volcano, the thrills are so well wrought that they eventually lose their novelty and become numbing.
  22. 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.
  23. The medium is more palatable than the saccharine message because Hopkins and Gooding know how to put on a show.
  24. Enormously likable, partly because it is aware of its own grasp of the absurd.
  25. 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.
  26. 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.
  27. 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.
  28. The film is at its strongest when Russell and Kevin face tests of their character brought on by their interactions with homophobic students.
  29. 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.
  30. Reveling in the vivid Bangkok locations, Geoff Boyle’s photography is crisp and bright, and Dion Lam’s action choreography unusually witty.
  31. 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.
  32. 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.
  33. Oddly charming.
  34. 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.
  35. 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.
  36. 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.
  37. The wonder is that The Great Debaters transcends its own simplifying and manipulative ploys; it radiates nobility of spirit.
  38. 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.
  39. 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.
  40. 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.
  41. 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.
  42. 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.
  43. Bonobos: Back to the Wild is an uncomfortable mix of fictionalized account and nature film, but you have to admire the work it documents.
  44. 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
  45. Despite its deficiencies, Naz & Maalik feels authentic, and Mr. Johnson and Mr. Cook bring their characters completely alive.
  46. 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.
  47. 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.
  48. 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.
  49. As inspiring as it is, Doing Time, Doing Vipassana is too sweet for its own good; it plays like a spiritual infomercial.
  50. 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.
  51. Throwdown milks its emotion from a soap-opera score and the appealingly decadent performances of Mr. Koo and Ms. Ying.
  52. Quietly inflammatory film.
  53. Settles for being an atmospheric scenes-in-the-life biography of someone's most unforgettable character. It could have been so much more.
  54. 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.
  55. 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.
  56. 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.
  57. 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.
  58. We’re left once again feeling we’ve had only a glimmer of illumination on a vexingly complex problem.
  59. As she does, Ms. Theron locks down your attention immediately, holding you with her beauty and quiet vigilance.
  60. 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.
  61. If you can endure the messy slaughter, with a body count in double digits, the plot is not without its rewards.
  62. While I can’t exactly say that the movie cheered me up, it did give me something I needed. Not catharsis or uplift but a bracing dose of profane, sloppy, reasonably well-directed hostility. We take what we can get.
  63. Less a war movie than a western — the story of a lone gunslinger facing down his nemesis in a dusty, lawless place — it is blunt and effective, though also troubling.
  64. Revolting and hilarious satire.
  65. Even at 143 minutes, For Greater Glory cannot satisfyingly fill out the stories of a half-dozen secondary characters, and there are frustrating gaps in the biographies of Gorostieta and José. The jamming together of so much history and melodrama makes for a handsome movie that is only rarely gripping.
  66. A good piece of work more often than not, and this is one of the few times an actor turned director has chosen to subvert the feel-good genre for his maiden voyage.
  67. Ah, well. "There Was Once ...may feel like sober, do-gooder public television, but it has integrity, recording one specific town's slice of living history. Simple as that, it's a worthy document.
  68. Casper is not the kind of smartly written movie that works on children's and adult levels at once. But with its lively pace, smashing visual tricks and one of the cutest heroes on screen, it is an engaging fantasy for very small children.
  69. Mr. Burger has a performer who can dart between stentorian self-assurance and cringing pathos, maintaining his character's ambiguity until the final sequence of this resourceful and ingenious entertainment.
  70. Some viewers will be frustrated by the film's determination to be evenhanded, but with this same battle likely to be fought repeatedly in the coming years (the issue is again on the 2012 Maine ballot), Question One stands as a pretty good primer in how referendums are won and lost.
  71. It's empty calories trying to trumpet its bogus nutritional value, and the strain for social importance undermines the picture.
  72. The threads may not all be original, but they’re kept nicely distinct. Rather than awkwardly intertwining, they merely brush up against one another.
  73. Trying to do Margaret justice, Mr. Burton can’t prevent himself (and Mr. Waltz) from upstaging her.
  74. Mr. Newell is master of the feel-good ensemble piece whose shallowness is partly masked by the expertise of a high-toned cast.
    • 52 Metascore
    • 60 Critic Score
    For perhaps its first half-hour, John Sturges's new Western, Joe Kidd, looks surprisingly good. It seems restrained, relaxed, unfashionably out of the current mode in its commitment to people and horses rather than to sadistic monsters and machines. Nothing remarkable, but modestly decent—a feeling that persists, with continually diminishing assurance, almost until the climax, when everything is thrown away in a flash of false theatrics, foolish symbolism and what I suspect is sloppy editing.
  75. Consciously or not, coherently or not, Maleficent tells a new kind of story about how we live now, not once upon another time. And it does so by suggesting, among other things, that budding girls and older women are not natural foes, even if that’s what fairy tales, Hollywood and the world like to tell us.
  76. Even though most of the gags are too familiar or too dumb to be hilarious, Airplane II is too good-natured to be a serious irritant.
  77. The crisscrossing pursuers and pesky police suggest a watered-down version of the treacheries in “City on Fire.” But the cluttered, unfolding dynamism of Mr. Lam’s action scenes remains resilient when gunplay or knife fights are thrust into street life.
  78. The Promise occupies a curious landscape somewhere between opera and cartoon.
  79. It's another of Mr. Toback's quick-talking autobiographies that, like the best pop, have a clock running on their expiration dates.
  80. Because of its shortcomings, (T)error serves as evidence of a broken system rather than an indictment of it. Yet such evidence is worrisome and points to a threat to civil rights.
  81. Ma
    Alternately sexy and silly, galvanic and gentle, MA is best enjoyed as a slide show of visual blessings and, sometimes, bafflements.
  82. Ladies vs Ricky Bahl has much to recommend it at first, not least its premise.
  83. We are largely left with the images, which take us far, if not far enough.
  84. Tobias Lindholm’s screenplay sacrifices credibility for quirkiness.
  85. Ms. Seydoux’s triumph is her skill at imbuing Célestine with an almost angelic radiance that clashes with her underlying coarseness.
  86. Has a complicated story to tell, about black surfers and, more broadly, about African-American history and the history of surfing. Great topics all, but that's a lot of ground to cover and, unsurprisingly, the film often feels a bit scattershot.
  87. Traveller is just a hot little sleeper with strong characters and a story to tell.
  88. Rachid Bouchareb's tidy little two-character film, London River, demonstrates how great acting can infuse a banal, politically correct drama with dollops of emotional truth.
  89. Helmer's wildly whimsical debut film, Tuvalu, is the kind of movie that might one day find itself in the hall of fame of surreal movie weirdness alongside cult favorites like "Eraserhead," "Delicatessen" and the avant-garde frolics of Guy Maddin.
  90. At two hours and 14 minutes, the movie is a lot longer than it needs to be. On the other hand, Elliott (whose beeps and bomps and chomping sounds are supplied by Charlie Callas) is very sweet and emotive, and you don't often see children's musicals as ambitious as this one any more.
  91. The filmmakers try to balance pointed, often incisive satire and unabashed sweetness, with results that are sometimes bracing, sometimes baffling and quite often, and in unexpected ways, touching.
  92. In stark contrast to their furry, blundering star, the makers of Paddington have colored so carefully inside the lines that any possibility of surprise or subversion is effectively throttled.
  93. Part character study, part crime thriller, Bullhead is the impressive but deeply flawed first feature written and directed by Michael R. Roskam.
  94. The gags, like the plotting, have a giddy edge that can be sharp, but just as often they go nowhere.
  95. A mere slip of a movie, a wan character study of people who add up to little more than a series of studied quirks.
  96. Ingrid Goes West comes close to saying something sharp about how social media promotes envy and the illusion of connectivity, but when a comedy chooses such an obvious target, it should have the courtesy to aim from an oblique angle.
  97. There are certainly more unpleasant ways to spend an hour and a half, but it's unlikely that Rittenhouse Square will generate much interest outside Philadelphia.
  98. Continental Drift, like its predecessors, is much too friendly to dislike, and its vision of interspecies multiculturalism is generous and appealing.

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