The New York Times' Scores

For 9,010 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Elza (Le bonheur d'Elza)
Lowest review score: 0 If One Thing Matters: A Film About Wolfgang Tillmans
Score distribution:
9,010 movie reviews
  1. Not since "Y Tu Mamá También" has a movie so palpably captured the down-to-earth, flesh-and-blood reality of high-spirited people living their lives without self-consciousness.
  2. With her shaved head and staring eyes, Aman actually looks as if she had been stripped entirely of her sexuality, like a Holocaust victim. What does seem certain is that a bootleg print of "Yentl" is still making its way through Iran's filmmaking underground, leaving a wide trail of influence behind it.
  3. Darkman sustains mild interest throughout, but it never takes off, partly because a real-estate scam, gangland shootouts, city corruption and a love story clutter up the sad story of Westlake's strange mutation.
  4. The enjoyment in Vincent and Theo comes more from the director's attention to art history than from his ability to interpret it anew.
  5. With tact and enthusiasm, Mr. Polanski grabs hold of a great book and rediscovers its true and enduring vitality.
  6. Whether you're predisposed to seeing Second Life as liberating or creepy, Life 2.0 would have been more interesting and original if it, like its subjects, had dwelled more in the virtual world, and if it had told us more about that world's mechanics and folkways.
  7. While occasionally unpleasant, the film never crosses the line from bearably chilling to unbearably gruesome, keeping its characters credible and its events explicable.
  8. To call this thrillingly original, deeply felt movie a coming-of-age story would be to insult it with cliché. It’s much more the story, or rather a series of interlocking, incomplete stories, about what it feels like to be a certain age and to feel caught, as the title suggests, between the desire to be yourself and the longing to fit in.
  9. Delivers a brave, head-spinning commentary on the potency of advertising and the seduction of the soul.
  10. In fact even the film's most dramatic moments are presented with decorousness bordering on detachment.
  11. It’s difficult to dislike a documentary with such noble, generous subjects, but the film is unfocused and repetitious, not sure whether it is a road trip, a story of a couple or an exploration of small art institutions.
  12. In the end there might not be much to this tale other than titillation, but there's plenty to be said for Ms. Ronan, who was the best thing about "Atonement" and holds her ground against forceful screen presences like Ms. Blanchett and Mr. Bana.
  13. Ms. Hamilton tells a modest, complex story with admirable clarity and nuance. That her film is so quiet, so evidently invested in contemplation rather than confrontation, gives it power as well as insight.
  14. Like the best war movies -- and like martial literature going back to the Iliad -- it balances the dreadful, unassuageable cruelty of warfare and the valor and decency of those who fight.
  15. Wes Craven (of the 'Nightmare on Elm Street' films) is in the mood for parody.
  16. Presents an appealing and persuasive picture of European integration, in which national differences, which once sparked military and political conflict, are preserved because they make life sexier and more interesting.
  17. With unexpected success, Robert Altman plays a John Grisham mystery in a seductive new key.
  18. A minimalist but strikingly beautiful tale of renounced violence told with uncommon precision and depth.
  19. Bolstered by animated re-enactments and Bob Richman's frosty cinematography, Unraveled is a mesmerizing one-man dive into narcissism, entitlement and unchecked greed.
  20. If only Red Flag were funnier and tighter and had a sharper idea about what it means to blur the lines between self-interrogation and self-absorption. As it is, the movie throws off too few sparks.
  21. The movie, in other words, belongs solidly to Mr. Radcliffe, Mr. Grint and Ms. Watson, who have grown into nimble actors, capable of nuances of feeling that would do their elders proud.
  22. In My Mother's Arms takes a distressing snapshot of an ongoing struggle.
  23. In the film's briskly paced 72 minutes, any open-minded viewer will discover something about identity and about the comfort these women have obviously found in learning to be their unusual, unfettered selves.
  24. Though at times a tad worshipful, the film's tone is ultimately more awed than hagiographic, its commenters too cleareyed and candid to back away from negative publicity or public disenchantment.
  25. Mr. Farrell and Mr. Doyle continue to hold your gaze, even as Mr. Jordan's screenplay sets your mind to wandering. There is, as noted, a wisp of a tale tucked into this film, one that, as the story wears on, becomes ponderously weighed down with melodramatic filler and even some halfhearted genre action.
  26. Begins semirealistically, then veers off course, hurtling into the wild blue yonder of myth and allegory. On the way to a climactic shootout that begins on the set of a Hollywood western and ends on a foggy hillside, it makes several screeching, hairpin turns.
  27. If it all adds up to too much for one film to encompass with ease, Monsieur N, is certainly richer than most of what you'll find on the History Channel.
  28. Peter Weir’s The Year of Living Dangerously is a good, romantic melodrama that suffers more than most good, romantic melodramas in not being much better than it is.
    • 65 Metascore
    • 80 Critic Score
    For those who know such places, Mr. Parker, who is English, evokes the texture, the gritty, fly-specked Southernness, the brooding sense of small-town menace, the racial hatred, with considerable accuracy.
  29. This ghastly scenario of poor preying on poor is, like the film's gray-green palette, profoundly depressing and entirely pitiless.

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