The New York Times' Scores

For 9,417 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 2.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Army of Shadows
Lowest review score: 0 The Abduction of Zack Butterfield
Score distribution:
9,417 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. Wes Craven (of the 'Nightmare on Elm Street' films) is in the mood for parody.
  5. 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.
  6. With unexpected success, Robert Altman plays a John Grisham mystery in a seductive new key.
  7. A minimalist but strikingly beautiful tale of renounced violence told with uncommon precision and depth.
  8. Bolstered by animated re-enactments and Bob Richman's frosty cinematography, Unraveled is a mesmerizing one-man dive into narcissism, entitlement and unchecked greed.
  9. 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.
  10. 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.
  11. In My Mother's Arms takes a distressing snapshot of an ongoing struggle.
  12. 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.
  13. 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.
  14. 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.
  15. If The Green Prince sustains the tension of a well-executed thriller, it is achieved at the cost of a dispassionate objectivity.
  16. 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.
  17. 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.
  18. 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.
  19. This ghastly scenario of poor preying on poor is, like the film's gray-green palette, profoundly depressing and entirely pitiless.
  20. Everything about In a Better World feels just a little too easy: a better movie might have let in more of the messiness of the world as it is. This one falls into cheap manipulation, winding up the audience with foreboding music and the spectacle of blond children in peril.
  21. There's nothing obscure about young love and loss, and a story, as Mr. Jiménez put it, about "youngsters who have to deal with this sudden lack of certainties which makes them more lonely than they could have ever imagined."
  22. As social criticism -- not only of Israel, but of other affluent countries as well -- James' Journey is both potent and a little didactic.
  23. At some point, though, Mr. Byrkit turns one too many corners (characters, meanwhile, begin bustling in and out of rooms like Marx Brothers extras), and what began as a nifty puzzle feels more like a trap.
  24. The movie, written and directed by Vidi Bilu and Dalia Hager, is really a study of people coping with excruciating boredom and the absurd aspects of military life.
  25. The film is best watched as a richly sensual stylistic exercise filled with audaciously beautiful imagery, captivating symmetries and brilliantly facile tricks.
  26. Mr. Dick, whose previous documentaries have examined sexual abuse in the Roman Catholic Church, the inner workings of the movie ratings system and the life and work of the French philosopher Jacques Derrida, is a cerebral muckraker. While his techniques are not as nakedly tendentious as Michael Moore’s (and his movies, as a consequence, are not as much fun), he hardly pretends to be a detached or unbiased observer.
  27. The film is well organized and visually snazzy and keeps enough distance from its subject that you don't feel swamped in a tide of hysterical fandom.
  28. The beauty of the movie, in fact, is that Mr. Estevez does not make explicit what any of them find, beyond friendship. He lets these four fine actors convey that true personal transformations are not announced with fanfare, but happen internally.
  29. There is both too much story and not enough. The contours of this desolate future are lightly sketched rather than fully explained, which is always a good choice. But that minimalism serves as an excuse for an irritating lack of narrative clarity, so that much of what happens seems arbitrary rather than haunting.

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