The New York Times' Scores

For 12,236 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 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Top Five
Lowest review score: 0 Swearnet: The Movie
Score distribution:
12236 movie reviews
  1. The Hunt doesn’t know where to stop. It is undermined with a short, unsatisfying epilogue whose shocking final moment isn’t enough to justify its inclusion.
  2. Only when Jodie Foster materializes midstory, delivering a beautiful, pocket-size performance as the mistress of one of the condemned men, does the film spring to life.
  3. Mr. Heineman has said that he wanted Cartel Land to feel like a narrative film as much as possible, and to an extent it does. What’s missing is a directorial point of view, including about vigilante groups, the so-called war on drugs, and Mexican and American policies and politics.
  4. For all its faults, “We Steal Secrets” reminds us that despite the potential of WikiLeaks, its project of truth and consequences remains treacherous and complicated in practice.
  5. There’s nothing wrong with Mr. Redford and his love of nature. But there’s something irritatingly softheaded about the generic, nostalgia-tinged blandishments that the film finally resorts to -- a Wendell Berry poem, a grizzled old farmer wielding a sickle -- in place of truly hard questions and solutions that may effect meaningful change. With the polar ice caps melting, I want more than poetry and blame. I want a plan.
  6. The kind of movie that gives literature a bad name. Not because it undermines the dignity of a great writer and his work, but because it is so self-consciously eager to flaunt its own gravity and good taste.
  7. Except perhaps for Lux, who, like The Virgin Suicides itself, is a hothouse flower perishing for want of sunshine and fresh air.
  8. Brilliantly as it begins, Safe eventually succumbs to its own modern malady, as the film maker insists on a chilly ambiguity that breeds more detachment than interest.
  9. Rarely does a movie feel as leaden-footed as Iris, especially when it tries to bounce back and forth. The audience is transported between two very obvious stories and becomes slightly irritated by the grinding inevitability of both of them. As a result, Iris Murdoch gets lost in the shuffle.
  10. Shooting in unattractive, hard-edge digital, Teller condenses Mr. Jenison’s years-long pursuit into 80 glib, alternately diverting, exasperating and tedious minutes.
  11. Nightcrawler is a slick and shallow movie desperate, like Lou himself, to be something more.
  12. The Last Emperor is like an elegant travel brochure. It piques the curiosity. One wants to go. Ultimately it's a let-down.
  13. Falling with a thud between two stools, it has neither the zip nor the zaniness of farce nor the airy vivacity of the best romantic comedies.
  14. Though Ms. Rapace is a fine professional scowler, with cheekbones that thrust like knives and a pout that’s mostly pucker, she tends to register as an intriguing idea instead of a thoroughly realized character. She more or less looks the part that the filmmakers don’t let her fully play.
  15. By the jaw-dropping climax (an argument over a family portrait), and the film’s not-entirely unpredictable denouement, you aren’t sure whether you are witnessing an investigative family chronicle or an act of revenge.
  16. Simultaneously fascinating and vexing in ways that might tax informed devotees of both baseball and film.
  17. A surprisingly unpolished piece of work that plays as though it were written for the stage and only slightly modified for the screen.
  18. The screenplay, by W. D. Richter, remains bright and lively throughout, but the plot just isn't full enough to carry a feature film. The characters are vivid, and uniformly well-played, and their pre-pod lives are fairly well established. But an hour into the film, once the menace is identified, the few remaining humans begin fleeing for their lives, and after that it's just run, run, run.
  19. Hectic and harebrained, this galloping French thriller tosses a potpourri of plot points - crooked cops, sleazy gangsters, stolen drugs and an underage hostage - into a packed-to-the-gills nightclub, and stirs. Repeatedly.
  20. Ms. Hanna’s creativity and force are catching. But other voices are needed to evaluate her achievements with a fuller sense of cultural context and perspective.
  21. Risky Business improves as it goes along.
  22. Throughout the film there is an abundance of sumptuously photographed flesh on view. But House of Pleasures is not an erotic stimulant so much as a slow-moving, increasingly tragic and claustrophobic operatic pageant set almost entirely in the brothel.
  23. At once overstuffed with interviews and intellectually underdeveloped, the movie charts the area’s music industry and what is lyrically if elusively called the Muscle Shoals sound.
  24. Leconte's visual instincts are so impressive that they outstrip his story, leaving us flushed and dazzled, but also, as after a long night of champagne and baccarat (to say nothing of other irresponsible pleasures), hungry, tired, and homesick.
  25. Immerses you in violence and agony, but it may leave you with a curious feeling of detachment.
  26. A convoluted hodge-podge of time frames, subplots and bit player back stories.
  27. Its ideological leanings are evident and unsurprising, but more screen time for Mr. Nader's pre-2000 (or pre-post-2000) adversaries would have made a richer film.
  28. This affectionate documentary is more of a bonbon for longtime fans than an entryway for a broader audience.
  29. Despite its best efforts, Tanna drifts into a mode of exoticism that renders it an ultimately frustrating experience.
  30. The plot matters only inasmuch as it allows the returning director, Chad Stahelski, to stage his spectacular fight sequences in various stunning Roman locations, where they unfold with an almost erotic brutality.

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