The New York Times' Scores

For 12,819 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 The English Patient
Lowest review score: 0 Her Alibi
Score distribution:
12819 movie reviews
  1. Motorbikes careening round corners just millimeters off the track still quicken the pulse, but “The Next Chapter” also demonstrates the padding that documentaries in general have picked up in recent years.
  2. Dog Eat Dog is a movie that wants everyone off its lawn, but only after they’ve had time to appreciate that said lawn is way more nihilistic than their own.
  3. There is some fun to be found in this goofy riff on Shakespeare.
  4. For every few jokes that hit in this story about a recession-battered New York couple finding themselves on a Georgia commune, one sputters and dies.
  5. But the story never asserts itself in any dramatic or comedic or even home-movie fashion. It turns on whether the dopey actor can coax the quiet musician out of his shell (not much) and if the quiet musician can connect with his high school crush (I'll say no more, as that's the only suspense).
  6. This brisk reimagining of the 1984 slasher "Silent Night, Deadly Night" delivers the seasonal goods with admirable efficiency and not a little wit.
  7. The Pretty One is intermittently charming, occasionally touching and entirely lacking in credibility.
  8. The film, directed by Joel Silberg in and around Los Angeles, employs a very small story that is meant to be functional but still interrupts the dancing far too often.
    • 53 Metascore
    • 50 Critic Score
    A trippy spectacle. It boldly tries to find visuals to describe complex metaphysical and political concepts. But the results often suggest aestheticized eye candy, along the lines of Ken Russell’s “Altered States” or Godfrey Reggio’s “Koyaanisqatsi” and its sequels.
  9. The result is a narrow, albeit intriguing window into a technological revolt that deserves a more far-reaching film than this one.
  10. The director is Michael Sucsy, who is not always up to the challenges of the knotty material — we live in a world of mainstream movies with clumsy edits, but this one has more conspicuously bad cuts than most.
  11. The movie keeps you watching and generally engaged.
  12. As broad and cartoonish as the screenplay is, there is an accuracy of observation in the work of the director, Frank Novak, that keeps the film grounded in an undeniable social realism.
  13. O
    In trying to make "Othello" more lifelike and bring it down to a younger audience -- in effect, to make it more democratic -- the adaptation has rendered the material artless.
  14. Culinary purists have observed that much of what passes for the spicy Japanese condiment wasabi at American restaurants is an ersatz concoction of horseradish and green food coloring. The French-language action comedy Wasabi is just as artificial, pumped with horseradish to give it heat in lieu of actual spice.
  15. Mildly amusing but wholly unnecessary comedy.
  16. Has the sense of gritty, practical politics of a Japanese samurai epic combined with the high-flying stunt work and magical special effects of a Hong Kong romp. Ultimately this film by Yojiro Takita is satisfying on neither level, but not for lack of trying.
  17. The film is full of artists who seem to be straddling the line between compromise and conviction. There is much straddling in A House on a Hill, and not enough engagement.
  18. What the movie lacks is contrast. The sped-up ribbons of traffic in a city look as pretty as the interior of a redwood grove. As for the perils of logging, one brief shot of a clear-cut forest flashes by so quickly it is almost subliminal.
  19. Jig
    Jig begins light on its feet but soon becomes leaden. Legs pinwheel, and fake ringlets fly, but competitive tension is sacrificed to repetition and an unnecessary focus on complicated numerical scoring.
  20. Everything’s in service of the images in Bridgend, a stylishly shot, eerily scored and moodily acted film that wants for nothing but a plot. Depending on how you like your movies, this is either a walkout or a must-see.
  21. However authentic and heartfelt this film's depiction of life on the meaner streets of the Northeast corridor may be, it doesn't begin to match "The Sopranos'" epic vision of violence, class struggle and upward mobility in a barbarous culture.
  22. Despite its flaws, the film gets across some genuine melancholy, played up by a sobbing Irish fiddle.
  23. Technology remains no substitute for well-written characters and genuine intrigue and atmosphere, so despite the cute special effects and camera jostling, this film feels like an extended episode of an after-school show by Disney.
  24. Fans will love it; their main complaint may be that it ends too soon. Amateur psychologists in the audience, meanwhile, may be asking why such a successful guy seems so defensive.
  25. Mr. Toledano and Mr. Nakache, who wrote the scattered screenplay, have a well-honed touch for comic beats and a feel for workaday details. That comes in handy when their points about French identity miss the mark, or when the main characters share special moments without really acquiring depth.
  26. And so he zips and zags, keeping aloft in a movie that can’t always do the same.
  27. As the gritty, raspy-voiced sergeant, Mr. Eastwood's performance is one of the richest he's ever given. It's funny, laid-back, seemingly effortless, the sort that separates actors who are run-of-the-mill from those who have earned the right to be identified as stars.
  28. Despite great scenery, the distinctive visual ideas of Mr. Scott ("Alien," "Blade Runner") and the strong dramatic presence of Mr. Bridges, most of White Squall remains listless and tame.
  29. It batters you with novelty and works so hard to top itself that exhaustion sets in long before the second hour is over.

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