The New York Times' Scores

For 11,342 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Thunder Soul
Lowest review score: 0 Downloading Nancy
Score distribution:
11342 movie reviews
  1. The insight that social media fosters false intimacy is old news. The film shows only a half-formed sense of how careers have changed in 30 years.
  2. Isn't a movie so much as a devotional object, a kind of secular fetish designed to induce rapture.
  3. The script (by Jeremy Garelick and Jay Lavender) strains hard after a few easy jokes, and the whole movie feels dull and trivial.
  4. The movie's lack of subtlety is countered by an unswerving commitment to impartiality.
  5. An assaultive fiction about Liberian child soldiers made with boys and girls who actually fought in that country's recent war, left me wrung out - furious, confused, deep in thought.
  6. When the movie works, its buoyancy can be infectious and persuasive.
  7. There's not much going on here, and there is little suspense.
  8. The actors, too, bring more realism -- more gravity, if you will -- to the film than its wobbly premise deserves.
  9. Grosbard mercifully avoids melodrama -- the only real false notes are musical ones, from a score by Elmer Bernstein that turns familiar and trite when the film does not.
  10. Some of the nonstop commotion of Bangkok Dangerous is funny and inventive -- but much more of it is simply irritating and obfuscating.
  11. Too much soap opera colors its love story, and the industrial- strength dancing by booted men that is its centerpiece falls short of exhilaration.
  12. These are performances that lost too much in the editing room, smothered by music and overshadowed by a picture-postcard vision of the American West.
  13. Because Mr. Carell doesn’t go in for the kind of all-out caricature that Mr. Ferrell embraces with a manic glee, The Incredible Burt Wonderstone has an underlying soulfulness that cuts against its farcical aspirations. This is not to say that Mr. Carell isn’t just fine, only that his performance, as impressive as it is, lacks a shark’s bite.
  14. The film’s stacked stories naggingly lack a cohesive train of thought beyond the often harmful pervasiveness of pharmaceuticals in American society.
  15. Everything looks professional if undistinguished.
  16. Properly speaking, Exist is not a protest film but a protest video - the grass-roots medium of choice - and Ms. Bell makes good use of the technology. Mock interviews reinforce a strong documentary impulse, while digital blurs and layering further distance the material from status quo moviemaking.
  17. The shortened version is lovely to look at, but the stilted dialogue and crude overdubbing in scenes where English is not spoken often make it an impenetrable hodgepodge.
  18. The filmmakers hesitate at going deeper into the dark places of the prisoners' biographies and the storied prison itself. The one wouldn't exist without the other, and Ms. Chiarelli's rambling platitudes are no substitute.
  19. A beautifully filmed and patiently explained assessment of a proposal to build five hydroelectric dams in the Patagonia region of Chile.
  20. Ms. Breslin and especially Ms. Henley are quite good, elevating a film that seems like an oft-told tale.
  21. The movie proves to be a fragile conceit. It’s as likely to fall apart and cause frustration as it is to induce a reverie.
  22. Viewers unencumbered by nostalgia will probably see this zippy, occasionally funny movie as no more frantic or pop-culture-addled than the average multiplex fodder.
  23. The one solid element in Wild Horses is Mr. Duvall’s squinting, stone-faced portrayal of a gruff, crusty patriarch beginning to crumble.
  24. Compacted into an 80-minute mishmash of interviews, confessions and sketches, melded into a shaky mosaic, the answers from a cross section of men are shallow, self-serving and ultimately unenlightening.
  25. Until it delivers an eye-rolling scene near the end, Miracles From Heaven is an unexpectedly effective tear-jerker. More surprising still, that late diversion doesn’t negate much of the movie’s early sincerity.
  26. Has only the most tangential relation to reality, and therein lies its slender charm.
  27. A Slipping-Down Life has a worn, scruffy feeling. It gazes lovingly at vintage clothes and battered old cars as if they were the visible signs of authenticity, wishing that its morose, disconnected inhabitants could somehow be touched with the same elusive quality.
  28. Good-natured, mildly appealing video feature.
  29. A lower echelon of musical comedy hell (or heaven, if you love the hoariest musical comedy clichés).
  30. A Million Ways to Die in the West seems serious about only one thing: its contempt for the gun-crazed macho ethos exalted in countless Hollywood westerns. You might call the movie “Revenge of the Übernerd.”

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