The New York Times' Scores

For 12,485 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 3.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Hours
Lowest review score: 0 Elite Squad
Score distribution:
12485 movie reviews
  1. Ms. Gardos is not a particularly flavorful filmmaker, but she is an honest one.
  2. Entertaining without being especially illuminating. If you must see only one documentary about a Slovene philosopher this year, it might be better to read his books.
  3. Losin' It isn't without its likable moments, but it isn't overloaded with them, either.
  4. Though there's no doubt that Mr. Stone is as serious as a heart attack when it comes to creating an air of authenticity -- hence the sloppily butchered chickens and authorial defecation -- he never settles on a coherent tone for the movie.
  5. Thankfully, Mr. Grimaldi and the screenwriters have no great lessons to impart or messages to deliver, and the film, while uneven -- sometimes too on the nose, sometimes anecdotal and diffuse -- is generally absorbing, thanks mostly to the quality of the acting.
  6. It lacks focus and adds little to the awareness of the subject that even a casual follower of the news has already acquired.
  7. Mr. Moodysson has never met a pleasure he didn’t want to punish.
  8. Mr. Goldberger's words are among the more substantive in a film that at times seems ready to levitate from the screen on puffy clouds of praise.
  9. Once the film softens, it starts to come unglued.
  10. Poking the bear of repression has consequences beyond Mr. Zahedi's immediate artistic goals, as this layered, intermittently fascinating documentary makes abundantly clear.
  11. [Mr. Greenbaum] is observant of tears and laughter alike, but he might have made fewer sacrifices in the name of a tidy package.
  12. The severely beautiful film is painted in a dauntingly austere manner, as if lost in a war against itself, with confrontations underplayed and the rural landscapes making more of an impression than the detoured drama.
  13. Modest yet meaningful, Underwater Dreams has a political point of view, shining light on underground Americans who deserve recognition.
  14. There’s nothing wrong with being uplifting, but something less predictable would have been refreshing.
  15. If you can endure the messy slaughter, with a body count in double digits, the plot is not without its rewards.
  16. While the beauty of the setting is nourishing, without a narrative structure, the disjointed scenes raise questions.
  17. Quitters is repellent but believable, which makes it a little scary.
  18. Its light classical manner and its happyish ending. Whatever Mr. Allen is doing in constructing this pretty, slight, gently entertaining movie, he isn't doing the thing he does best. A Midsummer Night's Sex Comedy gives the impression of someone speaking fluently but formally in a language not his own.
  19. The absurdity of the story in the largely thrill-free thriller Contraband, its hairpin twists and outrageous coincidences, may keep even hungry action fans away. That's too bad because the story doesn't matter. (It rarely does.)
  20. Kitted out in period garb and dubious British accents, the actors throw themselves into this flimsy contrivance with energy, but are badly served by a director focused on flipping switches and twirling knobs. Despite a few early sparks of promise The Brothers Grimm sputters and coughs along like an unoiled machine, grinding gears and nerves in equal measure.
  21. What the film struggles to depict, committed as it is to the conventions of hagiography, is the long and complex work of organizing people to defend their own interests. You are invited to admire what Cesar Chavez did, but it may be more vital to understand how he did it.
  22. In aggressively sunny picker-uppers like the Marigold movies, there is a thin line between adorable and insufferable. And in the second “Marigold,” Mr. Patel has succumbed to his tendency toward cuteness.
  23. Though buoyed by Anthony Marinelli’s moody score and Denis Maloney’s gutsy cinematography, Self-Medicated suffers from severe dramatic droop.
  24. A promising, though static, new film that never leaves its taciturn shadows for a single emotionally gripping moment.
  25. A more accurate name for Feast of Love might be “Feast of Breasts.” At every opportunity, Mr. Benton turns the camera on his actresses’ gleaming torsos. These beautifully lighted soft-core teases lend an erotic frisson to a movie that in most other ways feels enervated.
  26. For the most part, everyone struggles through, with at best mixed success. The audience included.
  27. High Heels has no real mirth and not even enough energy to keep it lively.
  28. As the movie picks up speed and undergoes sudden, confusing plot reversals, it loses its satirical edge.
  29. Equal parts appealing and appalling innocence, with a spark of anarchic menace, Mr. Galifianakis is good enough to make you almost forget the movie.
    • The New York Times
  30. A small, intense period piece with a tough-love attitude toward lazy, self-indulgent little girls flirting with madness.

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