The New York Times' Scores

For 9,990 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Sugar
Lowest review score: 0 Back in the Day
Score distribution:
9,990 movie reviews
  1. More than in any of his previous films, Mr. Swanberg and his cast have refined a seemingly effortless style of semi-improvised storytelling so natural that it barely seems scripted. Life just happens.
  2. It begins with a montage of devastating black-and-white news clips interwoven with flashes of the flight of a terrified young widow and her two children. After that, the movie softens somewhat, but it never succumbs to sentimentality.
  3. This pull-no-punches portrait shocks and amuses with equal frequency.
  4. This loose-jointed ensemble comedy is funny in a squirm-inducing way.
  5. It’s part comedy, part tragedy and 100 percent pure calculation, designed to wring fat tears and coax big laughs and leave us drying our damp, smiling faces as we savor the touching vision of American magnanimity. It holds a flattering mirror up to us that erases every distortion.
  6. [Smith] also has an uncommonly sure sense of deadpan comic timing. [25 Mar 1994, p.C10]
    • The New York Times
  7. Boy
    This unpretentious comic tale of a youngster's growing relationship with a long-absent father has a surprising rhythmic genius: joy juxtaposed with humiliation, silliness with sadness, fantasy with reality, and none of it formulaic. The editing feels fresh, as does the film.
  8. The intoxicating madness of Tears of the Black Tiger is in the end too willed, too deliberate, to be entirely divine.
  9. Mr. Pucci, emerging slowly from behind a stray lock of brown hair, plays Justin's ambiguous transformation with deft understatement. And Mike Mills, who wrote and directed, keeps the film from slipping either into melodrama or facile satire, the two traps into which this genre is most apt to fall.
  10. As much as Mr. Levitch's voice grates, you can't help but admire the zest for life of this heroically independent but impossibly self-centered crank.
  11. Mostly, though, there is Landa, whose unctuous charm, beautifully modulated by Mr. Waltz, gives this unwieldy, dragging movie a much-needed periodic jolt.
  12. Alas, what's missing is the spark of life, the jolt of the unexpected - something beyond tears - to puncture the falseness of a film world, which, by its insistence on its own beauty, obscures the tragedy that the three characters, by their nature, cannot express.
  13. What the point here might be is a bit more elusive. It may be simply to allow Ms. Huppert, one of the most adventurous actresses in movies, the opportunity to try something new. And that might be enough.
  14. In the end Babel, like that tower in the book of Genesis, is a grand wreck, an incomplete monument to its own limitless ambition. But it is there, on the landscape, a startling and imposing reality. It's a folly, and also, perversely, a wonder.
  15. Man From Reno fascinates. It invites you to go back, decipher its clues and discern a grand design, if there is one.
  16. Mr. Herzog’s film is a pulpy, glorious mess. Its maniacal unpredictability is such a blast that it reminds you just how tidy and dull most crime thrillers are these days.
  17. It's the kind of outrageous, excessive flourish that can make Mr. Scott's work so enjoyable in the moment. He doesn't do much, but with a handful of appealing actors in tow, he sure keeps that machine going.
    • The New York Times
  18. The tussling between Elinor and Merida is familiar, but while the mother-daughter clashes may make the story "relatable," they drain it of its mythopoetic potential, turning what could have been a cool postmodern fairy tale into another family melodrama.
  19. The main tribute in Guard, however, is to Mr. Bachchan, an aging Bollywood monument (and father of the rising actor Abhishek Bachchan), whose sunken, heavy-lidded eyes, grizzled countenance and noble bearing indisputably convey the presence of a seasoned star.
  20. Crammed with colorful interviews, digital animation and live performances, this frisky and forthright film by Dean Budnick chronicles a vision of financing social progress with really great tunes.
  21. So what kind of a movie is Crash? A frustrating movie: full of heart and devoid of life; crudely manipulative when it tries hardest to be subtle; and profoundly complacent in spite of its intention to unsettle and disturb.
  22. There is no denying that Amélie is, to paraphrase its title, fabulous.
  23. The one-liners are clever enough and the physical comedy and pop-culture goofing sufficiently dumb and broad to make Undercover Brother, a reasonably pleasant experience.
  24. As spare as the juvenile institution in which much of it was filmed. As you watch it, you wish the film would fill in more of each girl's background.
  25. While Slither sometimes feels like a monster-mash, what makes it work is how nimbly it slaloms from yucks to yuks, slip-sliding from horror to comedy and back again on its gore-slicked foundation.
  26. It's also very well written by Jerry Juhl and Jack Burns and directed by James Frawley ("Kid Blue," "The Big Bus") with a comic touch that never becomes facetious.
  27. With beauty, mild and sharp jolts, and mesmerizing camerawork, he (Gaspar Noe) tries to open the doors of perception.
  28. "Revolutionary Road" is the kind of great novel that Hollywood tends to botch, because much of it takes place inside the heads of its characters, and because the Wheelers aren't especially likeable and because pessimism without obvious redemption is a tough sell.
  29. Bruce Willis is ready to earn our love again by performing the same lovably violent, meathead tricks as before.
  30. Mr. Wranovics sometimes goes too far in setting up cute situations for filming witnesses' comments.

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