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 Chan Is Missing
Lowest review score: 0 Alien Girl
Score distribution:
12236 movie reviews
  1. Lighter than a meringue and as insubstantial, the French boulevard comedy The Women on the 6th Floor was designed for the gentle laughter it easily earns.
  2. Cultivation and fine manners are nowhere to be found in the foul urban cesspool of William Monahan's London Boulevard. This palpitating mess of a movie certainly doesn't lack for pungent atmosphere.
  3. Neither the dangers of the plot - a dissolute uncle who wants to sell the farm, a father missing in action - nor the forbidding Nanny McPhee herself are as fearsome as they were the first time around.
  4. If the film is less persuasive for its lack of balance, it’s at least heartening to learn that undesirable dams can be destroyed and their rivers restored to their old ways and means.
  5. Political menace stalks youthful idealism in Putin's Kiss, a portentous, rather creepy documentary that masks its lack of historical context with an atmosphere of accumulating threat.
  6. Though Three Amigos is the kind of skin-deep contemporary comedy that assembles its stars and then just coasts, it's friendlier than most. And it contains a few elements that are destined for immortality.
  7. It’s not especially horrifying, or even very thought-provoking. It is touching, however, because it represents one frequently misunderstood, intermittently great filmmaker’s tribute to another.
  8. Possession is in the end an honorable, interesting failure. It falls far short of poetry, but it's not bad prose.
  9. The cinematic equivalent of a plate made of spun sugar.
  10. For horror film devotees eager to know how this unseasonable visit from the darker spirits of autumn rates, frankly, it's more marketing trick than moviegoer treat.
  11. Expressive touches are finally inadequate. Ms. Huppert's hard work notwithstanding, they don't take the place of psychological texture and narrative weight.
  12. Though it flies in the face of credibility and becomes downright silly by its end, I Know What You Did Last Summer knows its way around the rules of the popular horror-film genre.
  13. There are stunning locales but not much subtlety on display in Milarepa, a straight-as-an-arrow mythical-historical telling of a mystic’s early life.
  14. The journey from page to screen may have battered Mr. Welch’s novel, but its lamenting heart beats loud and clear.
  15. A familiar underdog story told with unusual sensitivity.
  16. As a yammering, swishy talk show host, Chris Tucker is flat-out incomprehensible, while Mr. Oldman preens evilly enough to leave tooth marks on the scenery.
  17. [Mr. Sanders] likes a dark palette and is good with actors, but there’s little here that feels personal, and he mostly functions as a blockbuster traffic cop, managing all the busily moving, conspicuously pricey parts.
  18. The Man of My Life is a sumptuously illustrated but shallow fable of the grass-is-greener conflict between freedom and commitment.
  19. Spurred by the medical and emotional problems of her own three children, Ms. Abeles embarked on a deeply personal inquiry into the insanely hectic lives of too many of our offspring.
  20. An aimless film about an aimless fellow, but it's not without its charms. It may be without a point, but hey, you can't have everything in a no-budget film like this.
  21. The shriller its didacticism, the more unhinged it becomes. But even at its most ludicrous - when it is shouting into your ear - its sheer audacity grabs your attention.
  22. An odd-couple caper of staggering dopeyness that makes you long for the snap and sizzle of the buddy movies of the 1980s.
  23. The strongest analogue for the second half of Insidious is one that the filmmakers probably weren't trying for: it feels like a less poetic version of an M. Night Shyamalan fairy tale.
  24. Adapted from Hans Fallada’s 1947 novel (and based on a true story), Alone in Berlin is dour and flavorless.
  25. The film is frustratingly uneven in its presentation.
  26. (Fishburne's) performance here, witty and profane, vulnerable and strutting, nearly holds the movie together.
  27. The worst of it is painless; the best is funny, sly, cheerful and, here and there, even genuinely inspired. [15 May 1987, p.C3]
    • The New York Times
  28. This is "Pretty Woman" for children.
  29. A quirky offering by Kyle Smith that does nothing more or less than show a touch-football game among friends. "It's sort of interesting," you might find yourself saying, "but is it a film?"
  30. What wildness there is in this Madame Bovary belongs to Ms. Wasikowska, an actress who is frequently more interesting than her material.

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