The New York Times' Scores

For 12,100 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 3.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Kid with a Bike
Lowest review score: 0 InAPPropriate Comedy
Score distribution:
12100 movie reviews
  1. 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.
  2. 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
  3. With its implausible coincidences, inelegant plot twists and minimally characterized characters, The Trip doesn't have much going for it apart from its basic sincerity and decency, which are evident.
  4. Directed by Dwight Little of "Free Willy 2," and written by onetime high school classmates, Wayne Beach and David Hodgin (Mr. Hodgin died in 1995), Murder at 1600 eagerly invokes other films and stock images without showing much style of its own.
  5. An inexplicable multiple award winner, To Die for Tano left me more perplexed than pleased. But then I don’t really get Roberto Benigni either.
  6. Grim, intelligent and vividly photographed by the director’s father, Philippe Lavalette, Inch’Allah works best when the camera alights on Ava and Rand, whose marvelously mobile faces convey all the complexity that Chloe lacks.
  7. This is a hiss-the-villain, cheer-the-hero kind of movie.
  8. Max
    As the intrepid kids and the fearless hound unravel a nefarious weapons-dealing scheme, Max finds its sweet spot, leaving behind its overwrought patriotic swagger and settling into the kind of story that would fill a decent hour of television.
  9. As the director, Anne Fletcher, methodically cuts back and forth between two weddings, she makes the reasonably insightful, moderately funny point that modern American weddings, however they may strain for individuality and specialness, are all pretty much alike. The problem is that much the same could be said about modern American romantic comedies.
  10. The full-on goofiness is not reliably buoyant; this is an intermittently enjoyable but often choppy comic ride.
  11. Often ridiculous, awkward, unsatisfying and dour melodramatic adaptation.
  12. The story is unremarkable, but its execution zings.
  13. The wish fulfillment of time travel tends to be fun to watch, and the director, Dean Israelite, feeds on the friends’ giddy escapades for a while.
  14. Shot with some wit and considerable speed, its short, sharp beatdowns are a refreshing change from the bloated action sequences favored by some of Mr. Kang’s genre contemporaries.
  15. It captures a gritty urban reality without moralizing or sentimentalizing its hapless young protagonist.
  16. It's another of Mr. Toback's quick-talking autobiographies that, like the best pop, have a clock running on their expiration dates.
  17. Travolta again carries a film with enjoyable ease, even if this one remains badly diminished by its perverse streak.
  18. A cream puff with a melted marshmallow inside it. As the temperature rises, the whole gooey thing starts to melt.
  19. Newell's ensemble timing and breezily sardonic style make it work better than might be expected.
  20. A wearisome mix of miserableness and dark humor.
  21. Nobody in it seems organically connected to anybody else. In a movie devoted to the idea that everything and everyone is connected, this is a serious failing, and it undermines Mr. Sayles's noble intentions.
  22. Even though, in retrospect, The Ardennes feels a little obvious and secondhand, it unfolds with enough speed and wit to hold your attention.
  23. The title character is a child, but two adult actors, Kathy Bates and Glenn Close, really give The Great Gilly Hopkins its considerable heart. This movie, though uneven, is affecting because of these two reliable stars.
  24. By not centering on the victims, Mr. Khalfoun nearly makes the film about pitying the panic-prone killer; the camerawork lacks the ominous, confident glide of much Steadicam horror.
  25. Sincere performances elevate an underdeveloped script and awkward filmmaking in The Dry Land, a coming-home drama as inexpressive as its traumatized lead.
  26. Preachy and pretty, Heaven is a classy-looking product with a vanilla flavor and a pastel palette.
  27. It’s really all about the fighting, carried out in a variety of Asian styles, including one Mr. Jaa invented for the film. Aficionados may find this thrilling. The rest of us will sink lower in our seats.
  28. Yet a film that tries so hard to offer intelligent entertainment too often forgets to entertain. The famous showdown in Tombstone...one of the most famous scenes in all of Western legend is anti-climactic.
  29. With modest resources, some nice digital camerawork and an appealing cast - the likable Ms. Jones draws you in easily - Mr. Shapiro keeps you engaged even when his story falters.
  30. Matty Beckerman’s Alien Abduction repackages ancient legend for modern audiences in a found-footage story of streamlined efficiency.

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