The New York Times' Scores

For 12,724 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 Evolution
Lowest review score: 0 Is That a Gun in Your Pocket?
Score distribution:
12724 movie reviews
  1. It’s not entirely clear what this faithful, slightly creaky new rendering, adapted and directed by the actor Daniel Auteuil, has to offer.
  2. [Roberto Sneider's] movie is erratic, jumpy (thanks to a needlessly affected editing style) and not entirely in control of its message.
  3. A cheerful, inoffensive fantasy in which such attractive live actors as Steve Guttenberg and Ally Sheedy play second fiddle to machinery that, in this case, means No. 5, designed by Syd Mead and engineered and realized by Eric Allard.
  4. Wes Craven's Swamp Thing wants desperately to be funny and, from time to time, it is. However, you might wish it would trust the audience to discover the humor for itself.
  5. Written and directed by Jeff Baena, this first feature feels sloppily plotted and uncertain of its destination. Seasoned actors are left to yell pointlessly at one another, while Beth and the zombie angle slowly decompose.
  6. A funny-sad, icky-sweet comedy of family dysfunction.
  7. Couldn't the creative minds at the 20th Century Fox animation studios, hoping to wring a few hundred million dollars more out of their prized family-animation franchise, have come up with something more original?
  8. Based on a novel by Andy Zeffer and directed by Casper Andreas, Going Down falls well short of compelling, either as a coming-of-age film, a satire or a romance.
  9. A movie that reveals its toxic intentions only gradually. Until it does, there is much to enjoy in the prickly odd-couple relationship of Henry (Billy Crudup) and Rudy (Tom Wilkinson), successful writing partners and longtime friends.
  10. A muddled supernatural thriller that fails to capitalize on either its horrific prologue or eerie location.
  11. Gentle and moving as it means to be, Always is overloaded. There is barely a scene here that wouldn't have worked better with less fanfare.
  12. Darts nervously between soap opera and sitcom, rarely blending them in a way that lets the two genres enhance each other.
  13. The material continues to carry its inherent emotional power and moral importance. As banal as the telling may be -- and at times, All My Loved Ones more than flirts with kitsch -- the tale commands attention.
  14. Loud, frantic, ridiculously overproduced and featuring a preening performance by Val Kilmer as a supposedly brilliant master of disguise, The Saint is sheer overkill.
  15. So awful it just might put an end to Hollywood's hypocritical infatuation with men in drag as symbols of its own supposedly liberated sexual attitudes.
  16. Obtuse, prettily decorative comedy. Characters burst gaily into song when, as often happens, they don't have anything better to do.
  17. Whether or not you wince, this meticulously acted movie, which won Ms. Soloway a directing award at the Sundance Film Festival, paints an accurate picture of how a segment of youngish, educated, affluent, white Americans converse. It is anything but inspiring.
  18. As if to personify the movie’s whiplash-inducing split between gloss and grit, the singer Erykah Badu appears as a prostitute — and also contributes a duet with Nas, one of the executive producers, to the soundtrack.
  19. Quirky goes a surprisingly long way before stalling out in Don McKay, an oddball comedy with the knowing, festering heart of a neo-noir.
  20. Some viewers may enjoy Give Me Your Hand simply as an excuse to gaze at the Carril brothers.
  21. If you can resist the urge to run for the exit, you may leave the theater feeling a lot more hopeful than when you went in.
  22. A sweeping but disorganized and sometimes monotonous exploration.
  23. It’s a cornball odd-couple comedy: Prim older woman meets a brassy young gay man. Still, it’s extraordinary just watching the peerless Ms. Rowlands wring the most out of the repartee in this adaptation of a play by Richard Alfieri.
  24. Many little touches in the film reflect the offbeat hand of Ms. Delpy. But she sells herself short by not giving the mother-son conflict a bit of a sharper edge beyond Lolo’s awfulness.
  25. Asif Kapadia, the director (whose film “Amy” won an Oscar for best documentary), has a fine eye for splendor, as does Gokhan Tiryaki, his cinematographer. Mr. Kapadia’s sense of pacing isn’t as acute.
  26. To attempt a culinary metaphor, Ms. van der Oest manages a yolky, runny sitcom omelet rather than the airy soufflé of farce.
  27. The director's attention to details of character and locale makes for a precise evocation of a New York seldom seen in feature films.
  28. In casting about for new sources of fear, Marebito achieves its own level of mediocrity.
  29. Nominally a story about sex, lies and faithfulness, Last Night is more truly a cautionary tale about mousetrap narratives.
  30. Even as Mr. Gilliam assails the tedium and pointlessness of Qohen’s existence, The Zero Theorem succumbs to those forces, spinning its wheels and repeating its jokes in a manic frenzy that is never as funny or as mind-blowing as it wants to be.

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