The New York Times' Scores

For 11,422 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 Ratatouille
Lowest review score: 0 The Best and the Brightest
Score distribution:
11422 movie reviews
  1. Quirky goes a surprisingly long way before stalling out in Don McKay, an oddball comedy with the knowing, festering heart of a neo-noir.
  2. Some viewers may enjoy Give Me Your Hand simply as an excuse to gaze at the Carril brothers.
  3. If you can resist the urge to run for the exit, you may leave the theater feeling a lot more hopeful than when you went in.
  4. A sweeping but disorganized and sometimes monotonous exploration.
  5. It’s a cornball odd-couple comedy: Prim older woman meets a brassy young gay man. Still, it’s extraordinary just watching the peerless Ms. Rowlands wring the most out of the repartee in this adaptation of a play by Richard Alfieri.
  6. Many little touches in the film reflect the offbeat hand of Ms. Delpy. But she sells herself short by not giving the mother-son conflict a bit of a sharper edge beyond Lolo’s awfulness.
  7. Asif Kapadia, the director (whose film “Amy” won an Oscar for best documentary), has a fine eye for splendor, as does Gokhan Tiryaki, his cinematographer. Mr. Kapadia’s sense of pacing isn’t as acute.
  8. To attempt a culinary metaphor, Ms. van der Oest manages a yolky, runny sitcom omelet rather than the airy soufflé of farce.
  9. The director's attention to details of character and locale makes for a precise evocation of a New York seldom seen in feature films.
  10. In casting about for new sources of fear, Marebito achieves its own level of mediocrity.
  11. Nominally a story about sex, lies and faithfulness, Last Night is more truly a cautionary tale about mousetrap narratives.
  12. Even as Mr. Gilliam assails the tedium and pointlessness of Qohen’s existence, The Zero Theorem succumbs to those forces, spinning its wheels and repeating its jokes in a manic frenzy that is never as funny or as mind-blowing as it wants to be.
  13. The chief pleasures of this mild-mannered dud lie in watching two resourceful comic actors go through their paces like the pros they are.
  14. The appeal of character and story line here is thoroughly overshadowed by the various technical feats involved in bringing the film to the screen.
  15. If you go, expect a diverting summer action adventure with occasional laughs, not a diverting stoner comedy with occasional action.
  16. Despite the glorious singing heard in archival footage from various periods of her career, the film is frustratingly sketchy.
  17. In 9 1/2 Weeks, he has created a work that might well qualify as a truly nouveau film. Here is a movie in which actors impersonating characters are blended into the decor so completely that they take on the properties of animated products, no more or less important than exquisitely photographed strawberries.[21 Feb 1986, p.C17]
    • The New York Times
  18. A confusion of tones, intentions and allusions, Two for the Money lurches from upbeat to downbeat without ever settling into a coherent groove.
  19. Mike may be a bumbling sad sack, but Mr. Zahn gives him just enough spunky appeal to lend this unlikely fly-by-afternoon coupling and its consequences a shred of credibility.
  20. The only distinguishing characteristic of this mildly agreeable variation of a worn-out formula is that the boisterous family under examination is Puerto Rican, and the screenplay includes a smattering of Spanish.
  21. Likable for its outlandishness, less so when it shows a self-important streak.
  22. Not a subtle film; and, most curiously -- to put it mildly -- for a sermon on tolerance, it resorts to history's eternal scapegoat.
  23. The real surprise, given the secondhand material, is that not everything proceeds by rote in Murder by Numbers.
  24. Exhaustive and exhausting, the new energy documentary Switch is so monotonous it makes "An Inconvenient Truth" look like "Armageddon."
  25. Everything goes pretty much as you guess it’s going to, but the conceit of seeing the whole story through the eyes of the videographer adds a dimension to the familiar goings-on.
  26. There is something both satisfying and frustrating about Madea Goes to Jail. Mr. Perry dutifully gives his audience what it wants, but you can't help feeling that he might also have more to offer: more coherent narratives, smoother direction, better movies.
  27. Appeal[s] to the delicate palates of an audience that craves the movie equivalent of tea and biscuits: stiff upper lips conceal hearts of gold, and all psychological conflicts are resolved with tearful confessions of vulnerability.
  28. Thoroughly blurs the line between high-minded outrage and lurid torture-porn.
  29. It has little bite and not nearly enough laughs or thought.
  30. Fur is a folly, though not a dishonorable one.

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