The New York Times' Scores

For 12,216 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 3.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Tuesday, After Christmas
Lowest review score: 0 Air America
Score distribution:
12216 movie reviews
  1. Not that Dr. Bot and the oblivious self-righteousness won’t delight certain fans, but this remains a protracted, scattershot comedy sketch that never quite nails its tone.
  2. Freddy Krueger is the most talkative of slashers, and also the most creative. In A Nightmare on Elm Street 3: Dream Warriors, he displays a great debt to Dali in concocting surreal visions for his prey. When Freddy enters the dreams of his teen-age victims, ordinary objects become armed and dangerous.
  3. The dark, comic poignancy of the book is drowned in garish, self-conscious whimsy, and the work of a talented ensemble is squandered on awkward heartstring snatching.
  4. May take place entirely in New York, but that doesn't stop it from being a classic example of Bollywood family values.
  5. Shot in a quasi-documentary style at the actual locations where the events took place, including the sidewalk outside the Dakota, the movie is extremely uncomfortable to watch.
  6. The script never gives them the kind of memorable exchange that makes fans howl with delight. But all in all, Escape Plan does what it sets out to do.
  7. Starting as a coldly realistic thriller, this film eventually loses its bearings as the director Miguel Ángel Vivas succumbs to a fit of nihilism, transforming Kidnapped into gruesome tit-for-tat torture porn.
  8. If there is anything worth discovering in this sad slog of a story, it is the two fierce performances by Cho Je-Hyun and Seo Won, who play the lovers and turn the harsh drama into a showcase for their pained expressions.
  9. So mild and thin that it doesn't inspire much of a reaction at all. With one exception - a dinner table scene that is by far the most memorable in the movie - the racial humor is studiously unprovocative.
  10. The sweetheart leads, Josh Zuckerman and Amanda Crew, are easy to spend time with, and Seth Green as an Amish hipster and Clark Duke as an unlikely lady-killer hit every sweet-and-sardonic note with panache.
    • 49 Metascore
    • 50 Critic Score
    As a director, Mr. Perry has his strong points, including a genuine interest in showing the resilience of African-American life and traditions (including church sermons and blues music, which are accorded equal significance here). But those aspects get lost in this turgid and ungainly film.
    • 49 Metascore
    • 40 Critic Score
    Many interviewees concede that the resistance is both disorganized and decentralized, and imply that some of the fighters are ethnic partisans jockeying for a slice of what will remain should the United States pull out.
  11. Because the material gives off such a delicious vibe, even though the movie itself feels a little old, you want to like Simone. It would be easier if it were a more forceful comedy. But Mr. Niccol's style is that of reticence -- as a director, he's a little coquettish.
  12. A story that should have been a taut poker-faced French farce that pushed its premise to the brink of absurdity stalls, unsure of its balance between comedy and drama. The movie's one reliable constant is Ms. Huppert. You can't take your eyes off her, even when she is misused and misdirected.
  13. Some will find profundity in the film's reversals and revelations, but its provocations are not particularly insightful or original. The Death of a President is, in the end, neither terribly outrageous nor especially heroic; it’s a thought experiment that traffics in received ideas.
  14. Even though it is sometimes dull and generally thin, there is something winning about the movie's genial lack of ambition.
  15. With a manic performance by Jean-Claude Van Damme and an improbable but intriguing plot variation, Enemies Closer is an improvement over most hunt-or-be-hunted fare. A small improvement, but still.
  16. In his genre pastiche The Good German, Steven Soderbergh has tried to resurrect the magic of classical Hollywood, principally by sucking out all the air, energy and pleasure from his own filmmaking.
  17. Its mood is so muffled and point so submerged, it's difficult to see why Mr. Reeves and the rest of the cast pooled their talents to make a movie about a nowhere man going no place in particular in Buffalo.
  18. It's generally fun to watch Mr. Yen move and not much fun to watch him act, and Legend of the Fist is no exception.
  19. Despite the frenetic action scenes, the movie sags, done in by multiple story lines that undercut one another and by the heaviness of its conceit.
  20. Suffering its own split personality, The Neighbor No. Thirteen is an art house exploitation film neither arty nor exploitative enough.
  21. An unsatisfying look at the London designer Ozwald Boateng, was shot over 12 years and aspires to a degree of intimacy, yet this glancing treatment is not very enlightening.
  22. The movie is smart in small ways, yet an underachiever in big ones -- but it will probably play very well on television. On the big screen, it's distended and diffuse.
  23. Trudges along the well-trod path of high-minded, schematic storytelling.
  24. The movie has no apparent destination in mind; it ends with a complacent shrug having barely reached feature running time. Ms. Tomei, Mr. Rockwell and Mr. Geraghty get stray laughs, but “Loitering With Intent” mostly plays like an excuse for its makers to hang out.
  25. In spite of its authentic scenery (it was filmed in Belize), this Mosquito Coast is utterly flat.
  26. As Shadows vacillates between the historical and the occult, you may snicker at the way hackneyed horror movie conventions are redeployed for more serious ends. But you won't be bored. The movie is well acted (especially by Ms. Stanojevska) and very sexy.
  27. Helena From the Wedding has a little more to offer than many films of its type.
    • 49 Metascore
    • 60 Critic Score
    Skimps on intellectual substance but skirts by on the lightly likable charm of its subject.

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