The New York Times' Scores

For 12,425 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 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
  1. They're losers that only a mother, an entertainment manager or a gang of self-satisfied comedy insiders could love.
  2. A crude but stirring video documentary filmed over last year and this by Amos Poe, while Mr. Earle and his band were on tour.
  3. Anonymous is a vulgar prank on the English literary tradition, a travesty of British history and a brutal insult to the human imagination. Apart from that, it's not bad.
  4. Apart from the car chase, the only real fun in Jack Reacher comes from Mr. Herzog and Robert Duvall, called in near the end for some marvelously gratuitous scenery chewing as a gruff former Marine. They enliven the movie's atmosphere of weary brutality for a few moments, but they also call attention to the dullness of their dramatic surroundings.
  5. While 14 Blades grinds on perhaps a half-hour too long, its ambitions and energies show that for a fresh take on the western, go east.
  6. Super rides on the carefully bent performances of its stars.
  7. French Kiss may have a more putatively foolproof formula, but everyone here has done vastly more interesting work. Too much gets lost in translation.
  8. The screenwriters, Ariel Kleiman (who is also the director) and Sarah Cyngler, have cut their story loose from any real significance, leaving us with Gregori, who has no discernible political views and no unifying beliefs, even delusional ones.
  9. Though thematically vague, thinly plotted and without a reliably sympathetic soul to cling to, the movie has a mutinous energy and an absurd, knockabout charm.
  10. A lively closing dance sequence, after an earnest, underwhelming climax, pays affectionate tribute to Bollywood production numbers. But you won’t find Mr. Chan’s customary bloopers over the closing credits.
  11. The story, which starts promisingly only to stop, restart, sputter and come to a wheezing, disappointing puff of nada, proves the least satisfying part of the whole. The finale certainly isn't earned, but all the nasty, tiny jolts throughout the movie do prick the skin nicely.
  12. An extravagantly corny ode to the collapse of the Cleveland mafia in the 1970s.
  13. Stumbles from restrained, fine-edged realism into blunt and muddy melodrama.
  14. With its emphasis on global positioning devices, Jet Skis and computer-designed surfboards, Mr. Boston's film is very much concerned with the stuff and very little with the spirit of professional surfing as practiced today.
  15. There are certainly more unpleasant ways to spend an hour and a half, but it's unlikely that Rittenhouse Square will generate much interest outside Philadelphia.
  16. And while Mr. Duke's direction has visual panache, the movie is unevenly paced.
  17. The real story of Christian Longo and Michael Finkel might be a fascinating and disturbing tale of crime, curiosity and journalistic ethics, but that’s not what this movie is.
  18. Mr. Carolla’s wide-ranging résumé includes writing, voice-over work, talk-show appearances and a popular podcast, but it’s light on acting, and he shows why here, proving himself unable to perform the difficult trick of making a loathsome character sympathetic.
  19. An amiable sequel with not much on its mind other than funny and creaky jokes, and waves of understated beauty.
  20. A new wrinkle in how the killings spool out actually makes the film even more predictable, and the deaths, which tend to be squirmy rather than explosive, are so perfunctory and lazily jokey that they leave a decidedly bad aftertaste.
  21. Not entirely terrible. That is high praise indeed, given that this is a film aspiring to match the achievement of "27 Dresses," "When in Rome" and "Leap Year."
  22. Mr. Kang is a gifted choreographer of bloody chaos, but he has enough range and imagination to strew a few interludes of haunting tenderness amid the shell casings and ketchup packs.
  23. Home accumulates a blurry, on-the-fly atmosphere spiked with moments of unexpected sweetness. The movie, though, is most successful when the dialogue mutes and our attention is focused on Jonathan Wolff's gliding camera; in those moments, the brownstone is the most interesting character of all.
  24. As indicated by the title, this documentary tends toward the general, abstract and vague, though some detail and much charm are achieved by the choice of commentators.
  25. Worse, you never root for Ms. Calderon's Luz, who goes from sullen to more sullen to a bit less sullen. She has discipline - to lift, she has to keep her weight down and train constantly - but not much compassion and no joy.
  26. Any film tossing comic interludes among its closing credits has to be convinced of their hilarity and of the good will the movie has earned with viewers by then. Perhaps the film's naked traffic in sentiment up to that point made Mr. Crano so bold. Whatever; his confidence was unwarranted.
  27. Finding Mr. Right (even the title is generic) has a top-to-bottom capable cast, a nice sense of place and a few honest epiphanies that are given time to land. But neither the comedy nor the romance exists beyond the level of idea.
  28. Rapid editing leaves little time to absorb vocabulary (such as “deadstock,” a new shoe that has never been worn) or intricacies of design.
  29. As ever, the paradox of Mr. Verhoeven’s style is that it seems to wallow in tastelessness and transgression even as he remains one of the most classical movie craftsmen.
  30. An unabashed B movie: basic, brutal and sometimes clumsy, but far from dumb, and not bad at all.

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