The New York Times' Scores

For 13,084 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 American Movie
Lowest review score: 0 Would You Rather
Score distribution:
13084 movie reviews
  1. As the movie lurches along by fits and starts, toggling between the little Nantucket room and the great watery world, it becomes apparent that the filmmakers have no idea how to reconcile not just two parallel stories but also the past and our contemporary age.
  2. Mr. Caranfil never manages to negotiate the thickets of ambiguity, tragedy and bleak comedy, although the problem may be that someone behind the scenes just didn’t see the profit in a no-exit narrative.
  3. Ms. Bagnall’s baffling story about a trio of oddball outsiders is stricken with a galloping case of romantic whimsy and falls short of its serio-comic aspirations.
  4. All the Rage overrides most of its shortcomings by keeping a breezy tone and by showing Dr. Sarno to be a convincing speaker, as well as an affable and somewhat crusty character.
  5. Ms. Diaz has found her down-and-dirty element in the kind of broad comedy that threatens to get ugly and more or less succeeds on that threat.
  6. A muddled morality tale more interested in coming of age than getting of wisdom.
  7. Ms. Berry does a decent job with the role, and the film treats its subject matter respectfully, but the overall package doesn’t rise above ordinariness.
  8. The Doorman, is simply too distracted to hit the comedic bull's-eye. Whatever the case, his movie gets a chuckle or two but mostly will tickle insiders.
  9. Ends up stranded between two concepts, either of which might have yielded a more satisfying film.
  10. It tells us everything most of us know already, including the fact that politicians lie, journalists fail and youth flounders. Mostly it tells us that Mr. Redford feels really bad about the state of things. Welcome to the club.
  11. The daring but only partly successful Korean film Lies is built around voyeurism.
  12. The essential humanity of the characters shines through, giving face and form to a subculture the movies have largely neglected.
  13. A movie for people who somehow managed to miss the point of the first picture.
  14. Deteriorates from a potentially enlightening exploration of urban development and class conflict into a preposterous melodrama.
  15. Once again, Bob Fosse's "Cabaret" haunts the stage with derbies and splayed legs, but with results that are strictly Sally Bowdlerized.
  16. It is hard to say, though, if this film, directed by Gus Van Sant from a script by Jason Lew, is an argument for denial or a treatise on acceptance. Curiously, and in a way that is sometimes touching and sometimes icky, it does not seem to perceive much of a difference.
  17. 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.
  18. 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.
  19. Unfortunately, and despite its promising start, The Dressmaker doesn’t move much beyond the level of well-costumed playacting.
  20. A mainstream, eager-to-please, relatively generic endeavor, not an auteurist showcase.
  21. Sleek, attractive and ultimately vapid.
  22. 1492 is not a terrible film. Yet because it is without any guiding point of view, it is a lot less interesting than the elaborate physical production that has been given it. Only a very great writer could do justice to all the themes the Columbus story suggests. Ms. Bosch may be a very good researcher, but she's not a very great writer. She can't even squeeze in many relevant facts, much less define the relevance of those she does include.
  23. 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.
  24. 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.
  25. 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.
  26. Kabbalah Me, which distinguishes between “narrow consciousness” and “expanded consciousness,” merely walks the middle ground.
  27. Short and sweet and limited.
  28. In the end, it is Mr. Egoyan's fealty to the novel, its feints and dodges, that proves the film's undoing.
  29. Emerges as an uncommonly sober, well-researched film of its type.
  30. The final product is soft at the center, a rustic cinematic greeting card.

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