The New York Times' Scores

For 11,991 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 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Lincoln
Lowest review score: 0 Dirty Love
Score distribution:
11991 movie reviews
  1. Jack Reacher: Never Go Back is the second movie that Tom Cruise has starred in as this title character. Let’s hope it’s the last.
  2. Despite its empty head and arduous length, Flyboys is ever so nice, in the manner of a Norman Rockwell illustration. The director, Tony Bill, may not be a philosopher but he is a gentleman, moving things along with a tidy, well-mannered hand. In another context, such politesse might feel tonic. Given the state of things, it’s nearly toxic.
  3. Unfortunately, and despite its promising start, The Dressmaker doesn’t move much beyond the level of well-costumed playacting.
  4. A mainstream, eager-to-please, relatively generic endeavor, not an auteurist showcase.
  5. Sleek, attractive and ultimately vapid.
  6. We've heard it all before, if not in the schoolmarmish tones of Glenn Close, whose patronizing narration ("The earth is a miracle") makes the film feel almost as long as the life of its subject.
  7. The film leans almost exclusively on the focused performances of its two leads, who create a credibly barbed chemistry that goes a long way toward distracting us from the film's low-budget deficiencies.
  8. The film, though, is so padded with cheerleading that it doesn't have time for a serious exploration of poker's place in the broader culture or the consequences of its rapid rise and global reach.
  9. Kabbalah Me, which distinguishes between “narrow consciousness” and “expanded consciousness,” merely walks the middle ground.
  10. Short and sweet and limited.
  11. In the end, it is Mr. Egoyan's fealty to the novel, its feints and dodges, that proves the film's undoing.
  12. Emerges as an uncommonly sober, well-researched film of its type.
  13. The final product is soft at the center, a rustic cinematic greeting card.
  14. As the film veers uncertainly between meticulous historical recapitulation and shameless hokum, it brings enough characters to populate a mini-series. When the historical details become too clogged, the movie shamelessly overcompensates by wallowing in cheap sentimentality.
  15. Laborious and logy when it should be madcap and effervescent.
  16. An old- fashioned feel-good fantasy that piles on the euphoria.
  17. Watching it is like a slow injection of a numbing anesthetic. It may send a chill to your heart, but along with it goes a warning signal to your brain not to believe a word of this hooey.
  18. It all feels utterly real and banal. You could describe The Trouble With Men and Women as a comfortable armchair to come back to: too comfortable.
    • 47 Metascore
    • 50 Critic Score
    The new Halloween has sympathy for the Devil, but not enough.
  19. What feels amusingly anarchic on the small screen feels underdeveloped and disjointed on the big screen, perhaps because instead of commercials gluing the jokes together there’s dead air.
  20. In its groggy way The Lost City holds your attention. Incoherent, but splendidly panoramic and drenched in wonderful Cuban music, it has the texture of a vivid, intoxicating dream that seems to mean something until you wake up and feel it slipping away. All that remains are feelings and impressions connected by a mood.
  21. Part of what defeats Mr. Abraham and may help explain why Mr. Hiddleston’s performance, however appealing, never gets below the surface, is that Williams is one of those artists whose eloquence is expressed through his work.
  22. Parked collapses into sentimentality that not even an actor of Mr. Meaney's dignity and restraint can redeem from mawkishness.
  23. While the kids are giggling at gambling pigeons and psychedelic chameleons, parents can enjoy a screenplay sensitive to the travails of single fatherhood and the evils of oppression. In The Wild, the most valuable weapons are honesty, tolerance and the ability to be oneself.
  24. 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.
  25. The glacierization of half of the world's inhabited land is contemplated with barely a hint of horror. In fact, it looks kind of cool.
  26. The longtime friends Mr. Guzmán and Mr. Garcia have an unforced chemistry. But the effective jokes land too rarely. You’ll be ready to leave when the trip is over.
  27. As the plot clogs up with foreseeable reversals, wisecrack duties go to Mr. McShane, whose oracular character keeps wrongly predicting his own death. Like Hercules, the movie is plagued by a split identity: It’s half-slog, half-Mel Brooks.
  28. The Crash characters sleepwalk through this story in a state of futuristic numbness, seeking extreme forms of sensation because familiar feelings have long since failed them. It's a chilling, ghastly possibility that manages to exert a grim fascination.
  29. 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

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