The New York Times' Scores

For 12,505 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 Life Itself
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
12505 movie reviews
  1. High Heels has no real mirth and not even enough energy to keep it lively.
  2. As the movie picks up speed and undergoes sudden, confusing plot reversals, it loses its satirical edge.
  3. 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
  4. A small, intense period piece with a tough-love attitude toward lazy, self-indulgent little girls flirting with madness.
  5. Soars as much as it crashes.
  6. Pretty actors, grisly critters, brains sucked out of skulls, buckets of green slime and a plot that is half beach blanket bingo, half Iwo Jima.
  7. For the Plasma is a film with no shortage of ambition, taste (Maine looks great in 16-millimeter) or ideas. It’s a shame those ideas are so incoherent.
  8. It is a potpourri of arcane and familiar genres. "Mash-up" doesn't begin to capture this hectic hybrid; it's more like a paintball fight. Messy and chaotic, in other words, but also colorful and kind of fun.
  9. In the end, The Baxter is a Baxter of a movie: well meaning and mildly likable, but unlikely to sweep you off your feet.
    • 51 Metascore
    • 50 Critic Score
    Smart-aleck comedy and spirituality aren't incompatible, but in Adam's Apples they cancel each other out.
  10. As erratically enjoyable as it is consistently ridiculous, the martial arts pastiche The Man With the Iron Fists is the latest evidence that the vogue for neo-exploitation cinema shows no sign of flagging.
  11. As if all its artistic energy had been gobbled up by the fornication, Love has nothing left with which to build its characters or set them in motion.
  12. Mighty Joe Young, directed by Ron Underwood from a screenplay by Mark Rosenthal and Lawrence Konner, is saddled with dialogue so wooden that Mr. Paxton and Ms. Theron almost seem animatronic themselves. Little children won't notice. In Joe, they can identify with the biggest, cuddliest simian toy a 6-year-old could ever hope to own.
  13. If it drifts with increasing frequency it’s because, well, this finally is just a digitally souped-up, one-dimensional take on Jack and the Beanstalk.
  14. Think of Death at a Funeral as a comic quickie. As it presses buttons, a few laughs come out, but that’s all there is to it.
  15. To say that “Valerian” is a science-fiction epic doesn’t quite do it justice. Imagine crushing a DVD of “The Phantom Menace” into a fine powder, tossing in some Adderall and Ecstasy and a pinch of cayenne pepper and snorting the resulting mixture while wearing a virtual reality helmet in a Las Vegas karaoke bar. Actually, that sounds like too much fun, but you get the idea.
  16. As for the actual movie, it's the empty-calorie equivalent of a Happy Meal (another Batman tie-in), so clearly a product that the question of its cinematic merit is strictly an afterthought.
  17. “Saturday Night Live” deserves much better than the documentary equivalent of what a book editor would surely dismiss as a rushed, careless clip job.
  18. Dreary, claustrophobic drama.
  19. A sugary, aggressively anthropomorphized story of one avian interloper and a whole bunch of human obsessives.
    • 51 Metascore
    • 50 Critic Score
    Toward the end there are some amusing car-chase scenes. Elsewhere the humor is clotted by the feeling that the jokes are chasing the reactions, instead of the other way around.
  20. This breathless demi-noir has so much bounce that we barely get any time to mull over the gaping holes in its moth-eaten plot. It is competent but extremely slight.
  21. A thin and unsatisfying concoction that somehow manages to make one of the richest and most durable sources of culture-clash comedy into an occasion for dullness.
  22. Establishes its ominous mood and tension swiftly, and if the suspense never rises to a higher level, it is nevertheless maintained throughout.
  23. Ms. Fouce has gained unprecedented access to her subjects, but her own admiration for them makes this documentary more heartfelt than it is rigorous.
  24. By restricting himself to showing how well Mr. Robbins does his job, Mr. Berlinger mainly reveals how narrowly he has done his own.
  25. You can have a perfectly nice time watching this spirited adaptation of the popular stage musical and, once the hangover wears off, acknowledge just how bad it is.
  26. Occasionally funny, though its dirty riffs - most provided by Kevin Hart as the Happily Divorced Guy - are as formulaic as its earnest parts.
  27. For all its violence and road rage, Snitch doesn’t disintegrate into noisy popcorn nonsense.
  28. She's All That is essentially a formulaic comedy, but it has enough glimmerings of originality and wit to make you wish it were much bolder and funnier than it turns out to be.

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