The New York Times' Scores

For 12,609 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 Inherent Vice
Lowest review score: 0 Chaos
Score distribution:
12609 movie reviews
  1. 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.
  2. Adapted from Hans Fallada’s 1947 novel (and based on a true story), Alone in Berlin is dour and flavorless.
  3. The film is frustratingly uneven in its presentation.
  4. (Fishburne's) performance here, witty and profane, vulnerable and strutting, nearly holds the movie together.
  5. 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
  6. This is "Pretty Woman" for children.
  7. 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?"
  8. What wildness there is in this Madame Bovary belongs to Ms. Wasikowska, an actress who is frequently more interesting than her material.
  9. We bend over backward to find joy in this movie, but, like eager yogis striving to achieve an impossible asana, we just can’t do it.
  10. What makes this one different? Absolutely nothing. (Sure, it's based on a true story, but I mean come on, whatever.)
  11. As the film moves through his world of blood and sex and curdled machismo, The Devil's Double inhales some of his toxic, shallow energy. At times you feel as if you were stuck in "Grand Theft Auto: Baghdad City," which, while entertaining enough, can also become a bit wearying.
  12. Antonio Negret's sloppily executed film plays like a car commercial and a military-recruitment promo.
  13. Despite the slow start Mr. Condon closes the series in fine, smooth style. He gives fans all the lovely flowers, conditioned hair and lightly erotic, dreamy kisses they deserve.
  14. Some of the action sequences have been well staged, but they've been dropped into the film so indiscriminately that Jaws 2 never builds to a particular climax. It simply drones on and on and on, like a television movie.
  15. Exodus is ludicrous only by accident, which isn’t much fun and is the surest sign of what we might call a New Testament sensibility at work. But the movie isn’t successfully serious, either... To be fair, there is some good stuff here, too. Mr. Scott is a sinewy storyteller and a connoisseur of big effects.
  16. We Are the Giant builds up quite a rhetorical head of steam, but it doesn’t try to analyze the conflicts it observes or to fill in the history, except in the broadest sense of placing these uprisings on a list of rebellions that stretch back through millenniums.
  17. The territory where the circus sideshow meets the avant-garde...visually arresting, dramatically blurry.
  18. Undercooked, although it feels enough like a comedy for you to swallow it if you have to.
  19. A wan, wistful Generation Y romance.
  20. Fast and mostly fun, the movie also seems compulsively too much, throwing everything it can think of at you, lest it fail to entertain.
  21. This distillation of Philip Shabecoff’s book doesn’t really capture the urgency and militancy promised in the title.
  22. This gentle comedy, while entirely unmemorable, releases a genuine warmth that deflects harsh judgment. It doesn’t, however, excuse characters that are little more than props for embarrassing fashion or delivery systems for dated slang.
  23. This small, observant movie, directed and written by Kerem Sanga, is the better for not going in predictable directions. A story that you half-expect to turn into a melodrama stays true to the sensibilities of its immature, painfully sincere characters, who are faced with life-changing decisions.
  24. Everyone involved in "Never Say Never" is working overtime to prove that he is, as one of them puts it, "just a regular kid who had a dream," while everything about the movie screams the opposite.
  25. A quick-sketch routine stretched - amusingly, absurdly, thinly - to feature length.
  26. Hook is overwhelmed by a screenplay heavy with complicated exposition, by what are, in effect, big busy nonsinging, nondancing production numbers and some contemporary cant about rearing children and the high price paid for success.
  27. Modest and diverting, rough and bland, with some good (if not quite Bette Davis caliber) actors and so-so special effects.
  28. Poverty, capable of stunting lives, can also blight films. A case in point is the earnest and heartfelt but undernourished and plodding Off the Hook.
  29. Mr. Gooding’s performance and his complex charisma are fascinating to watch throughout.
    • 52 Metascore
    • 50 Critic Score
    An unwieldy mix of political satire and lavish period soap opera.

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