The New York Times' Scores

For 9,703 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 In a World...
Lowest review score: 0 King's Ransom
Score distribution:
9,703 movie reviews
  1. In Good, the anemic screen adaptation of C. P. Taylor's play about a respectable "good German" who passively acquiesces to Hitler's agenda, Viggo Mortensen, miscast and ineptly directed by Vicente Amorim, plays John Halder, a liberal, mild-mannered literature professor who becomes a Nazi.
  2. The excitement factor only intermittently carries from the arena to the screen.
  3. It’s hard to know what the director Allen Coulter could have done to improve Will Fetters’s absurdly contrived, yakky script about love and loss, largely set in the summer of 2001. But Mr. Coulter doesn’t help matters by infusing the movie with grave self-importance.
  4. The dialogue is dreadful (though we are at least spared the usual hokey Russian accents) and the wrap-up ridiculous, the only mystery being why this peculiarity was ever greenlighted at all.
  5. Compared with the psychological probing and spiritual brooding of "Batman Begins," Fantastic Four is proudly dumb, loud and inconsequential.
  6. Scott Derrickson, the director, and his special-effects crew really deliver the creepy goods here, providing an apt climax for as taut and credible a movie involving demonic possession as you’re likely to see.
  7. Salinger, directed by Mr. Salerno, is less a work of cinema than the byproduct of its own publicity campaign.
  8. Has its share of funny moments. But it also has its share of tired ones, like the subplot involving the inadvertent swallowing of a ring.
  9. As Mr. Maher, in his feature directing debut, brings in surreal touches and puts on literary airs, the film’s grip loosens, and its vernacular turns increasingly wooden.
  10. A gay tragedy in three acts and more than a dozen excellent songs, House of Boys conveys an emotional honesty that overrides its dated style.
  11. In this blood-splattered wasteland, neither original ideas nor acting skills flourish.
  12. Reminds us that when it comes to comedy, it's all in the writing. Mr. Kalesniko's satirically barbed screenplay, whose spirit harks back to the comic heyday of Blake Edwards, stirs up an insistent verbal energy that rarely flags.
  13. Too much seriousness can be fatal to a picture like this one, since it impedes the efficient delivery of dumb laughter and easy thrills.
  14. A competent, unpretentious entertainment destined to fill the after-school slot at shopping mall theaters across the country.
  15. For all the grimness and desperation on view in Mango Yellow, the characters emerge as robust, full-dimensional people in touch with their explosive feelings.
  16. Deep Impact confines much of its horror to television news reports and has a more brooding, thoughtful tone than this genre usually calls for.
  17. The fun of Scary Movie 4 is that it isn't a movie at all. Organized on the principle of parody, not plot, driven by gags and cultural feedback, it's an exercise in lowbrow postmodernism, a movie-movie contraption more nuts than Charlie Kaufman's gnarliest fever dream. It's cleverly stupid.
  18. These characters are mostly too sketchy and their connections too contrived for Shrink to jell as an incisive ensemble piece.
  19. May be a busy trifle, but it has its good-natured charms and agreeable gross-outs.
  20. Suri Krishnamma’s Dark Tourist takes an effectively unpleasant trip down the lost highway of a morbid mind before its bad choices start catching up with it.
  21. Though specializing in confrontational, caustic and often raunchy humor, Ms. Cho has a relaxed and playful stage presence.
  22. Insufferable characters make for an insufferable play or movie. The Sisters, a grueling family feud conceived by Richard Alfieri, proves the point.
  23. A mess from start to finish — though, judging by the ending, this story won’t be over any time soon — Insidious: Chapter 2 is the kind of lazy, halfhearted product that gives scary movies a bad name.
  24. Beneath its studiedly ugly surface, this bargain-basement answer to "Thelma and Louise" is as loathsome as any mindless, blood-drenched Hollywood action-adventure yarn.
  25. Style overwhelms substance by default.
  26. It's so enamored of its own upbeat view of human nature that it expects you to overlook its stick-figure characters, its creaky plot machinery and its remorseless assault on your tear ducts.
  27. Relentlessly bright and superficial, even when the subject turns to self-destruction.
  28. This pulpy, sex-drenched wartime epic seems frivolous, quaint and foolishly prurient.
  29. Throughout Happy Hour, observations that mean next to nothing are presented as nuggets of profound enlightenment.
  30. The slick filmmaking - the movie has a glossy, Hollywood-ready feel that sometimes tips into the cutesy - works against its themes.

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