The New York Times' Scores

For 11,422 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Project X
Lowest review score: 0 King's Ransom
Score distribution:
11422 movie reviews
  1. A delicately funny tale about everyday surrealism.
  2. The film is played as witchy, all-star vamping with a lethal sting. What makes its premise especially funny is that, at heart, it's no laughing matter.
  3. This Lithuanian love story from Kristina Buozyte offers a discomfiting blend of visual ecstasy and narrative sterility.
  4. A slight, amusing documentary.
  5. Mr. Kurosawa expertly modulates an uncanny flow of energies between shame and grief, between venal urges and high-minded moral demands. The women’s travails suggest something that’s part curse, part mythic cycle of guilt and part kaleidoscopic dread.
  6. All of this makes the movie pleasant, but not very memorable - a pale mirror image of "Shopgirl," which touches on some similar themes.
  7. Seldom is it clearer that a film is nothing more than high-gloss jokey escapism, or that when visual cliches are this relentless they become weirdly fascinating in their own right.
  8. This is a calm film about strong emotions, but it does find a reservoir of intensity in the two central performances, in particular Mr. Del Toro’s.
  9. Rising From Ashes has the phantom limbs of missed opportunities.
  10. Might have been richer and more observant if it were less densely plotted. The characters would resonate more if there were fewer of them, and if they were not pushed through so many contrived dramatic incidents.
  11. As predictable as a fast-food restaurant. The actors' exuberance goes a long way, but not far enough.
  12. It is billed as a "restored version," though the sound is still fuzzy and the image only occasionally rises to the level of murk.
  13. The movie keeps you at a distance; it is visually sweeping, and the history is fascinating, but the drama is rarely stirring.
  14. The moderately arresting Risk/Reward suffers from a lack of resources and is writ small, suggesting that it may play better on television.
  15. Extremely well acted. But as frequently as The Farewell touches on politics, it is essentially an excoriating (and sometimes grimly amusing) domestic drama of a latter-day king and his concubines.
  16. If many of the scenes are fake, however, the thrill of the project is not, and what we do see of the surface - hyperclear photographs on the scale of 100-by-180 feet - is out of this world.
  17. The story of dependence and excess is sadly familiar — and as with most of its material, I Am Chris Farley doesn’t find a fresh way to tell it.
  18. More than anything else, Ask the Dust feels like a compendium of desires - for a city, for a woman, for youth.
  19. In spite of its raw, explicit moments, the film is at heart a sturdy morality tale about innocence and corruption, wealth and want, sex and power.
  20. A noirish thriller that revels in ominous visual moods, deepened by Cliff Martinez's spare, shivering guitar score, this heartland "Appointment in Samarra" is a mind-teaser that speaks the flat, evasive language of its seedy characters.
  21. Neither fast nor furious, this film belongs in the section of the supermarket where blah-white labels and big block lettering denote brandless cigarettes, vodka, crushed pineapple and, in this case, action picture.
  22. It’s all kind of cute. Maybe a little too cute, but it does have a nice circle-of-life ending. And along the way, Mr. Byington shows a knack for observational humor, slipping in sly jokes that force you to keep paying attention despite the slim plot. Droll and interesting; just not very substantial.
  23. The problem is that Mr. Vaughn has no interest in, or perhaps understanding of, violence as a cinematic tool. He doesn’t use violence; he squanders it.
  24. Fueled by neither anger nor religious extremism - the director, Thierry Binisti, remains rigidly nonpartisan - "Bottle" is a gentle pairing of youthful idealism and tenacious hope.
  25. Tolkien's inventive, episodic tale of a modest homebody on a dangerous journey has been turned into an overscale and plodding spectacle.
  26. These are fragments more than complete stories, and the incompleteness is its own kind of creepiness.
  27. Shrek the Third seems at once more energetic and more relaxed, less desperate to prove its cleverness and therefore to some extent smarter.
  28. The Finest Hours is a moderately gripping whoosh of nostalgia that shamelessly recycles the ’50s cliché of the squeaky-clean all-American hero.
  29. Somm, though an entree into a little-known world, rarely finds a second dimension.
  30. The fixation of independent movies on the arrested development of bourgeois dullards may have less to do with the relevance of the topic than the class of people who get to make movies. Whatever the case, James Burke directs from a screenplay by Brent Boyd.
  31. The script, by Adam Hirsch and Benjamin Brewer, is full of both humor and menace, giving the actors plenty to work with. That makes for an enjoyably slow buildup to an unexpected ending.
  32. That understated style at times makes Green Card seem too stiff and vacuous, as if Mr. Weir were inspired by the surface of a Jane Austen work and left out the wicked social observations. But the film is magnificently redeemed by Mr. Depardieu.
  33. This warm, sorrowful film plays like a downbeat variation on an old World War II picture from Hollywood.
  34. The movie is truly a tree-hugger's delight (I confess to being one such hugger) that makes the most of its metaphors without straining toward supernatural schmaltz.
  35. At only 95 minutes, the movie feels as though it had been shredded in the editing room. In Hollywood-speak, it has a weak second act.
  36. The emotional moments don’t pay off any better than most of the jokes, which reach for the safest kinds of provocative punch lines having to do with sex, race and religion.
  37. Lacks more than subtext: it barely has text. At times, the picture seems to have been edited with a blowtorch. But it gets the job done efficiently and swiftly.
  38. Mr. Li will come out of Kiss of the Dragon smelling like a rose; the combat couldn't be better. But next time around, he should leave the script to more capable hands.
  39. Among this year's bumper crop of shallow teen-age movies, it is the shallowest and the most prurient.
  40. May
    Led by Ms. Bettis's discreetly campy May, the performances are a cut or two above what you would find in the average slasher film. But in the end that's all it is.
  41. Never finds a comfortable fit between its biographies and its theorizing.
  42. Has some good performances (Ms. Moore's ongoing snit is a terrifically sustained bit of glowering), but it only barely begins to knit its self-pitying characters into a credible family unit. They are oddballs with attitude.
  43. Enjoyable, unabashedly trivial caper flick.
  44. An appealing blend of counter-cultural idealism and hedonistic creativity.
  45. There’s nothing like hearing a harrowing tale from the people who lived it.
  46. The jocular screen adaptation of the 2005 best seller "Freakonomics: a Rogue Economist Explores the Hidden Side of Everything" is a shallow but diverting alternative to the book.
  47. Does it sound as if I hate this movie? Don't be silly. But don't be fooled. This movie does not like you.
  48. Best appreciated for its sustained creepy vibe and sporadically arresting images, Heartless moves from one outré moment to another, from one self-conscious allusion to the next ("Donnie Darko" and "Taxi Driver"). It doesn't go anywhere special or much of anywhere, though it goes there in appreciably icky style.
  49. Mr. Turturro’s musical choices in Fading Gigolo tend to feel, like so much here, generically applied instead of meaningfully coaxed from some essential, lived-in truth.
  50. None of it is as scary or as funny as it should be, and what starts out as a sly thumb in the eye of corporate power ends up as a muddled and amateurish homage to David Lynch.
  51. Its willful determination to be outré proves its undoing.
  52. Glory Road is satisfying less for its virtuosity than for its sincerity, and also because it will acquaint audiences with a remarkable episode that had ramifications far beyond the basketball court.
  53. Think of Gemma Bovery as an airy puff pastry, dripping with honey.
  54. The bare facts of the feat seize the imagination, even if Ms. Tobias’s competent documentary doesn’t quite rise to the challenge.
  55. Low Down stumbles into the pitfalls of both addiction narratives and observer-style autobiography, even if Ms. Albany’s memoir suggests even rougher times. But it still catches in-between moments of closeness that aren’t always seen or heard.
  56. What makes A Royal Night Out palatable are the lead performances.
  57. While it may not always be satisfying to attend these soirees, when presented with the talents for repetition and juxtaposition of precise details demonstrated by Ms. Letourneur and Ms. Adler, these social customs are fascinating to observe from afar.
  58. Taken on its own, without comparison with its literary source, the movie, Mr. Schreiber's first as writer and director, is thin and soft, whimsical when it should be darkly funny and poignant when it should be devastating.
  59. The results prove disappointing, simultaneously over the top and underwhelming.
  60. While most films in which the angry past confronts the guilty present degenerate into mawkish reconciliations, Emile errs on the side of restraint.
  61. Mr. Dorff’s hot-wired portrayal of a prisoner under physical and psychic siege gives Felon its emotional through line as Wade’s attitude metamorphoses from stunned disbelief, to terror, to despair, to fury and finally to hope.
  62. While the movie is a conceptual pip filled with quotable laughs and gentle pokes at religious faith at its most literal, it also looks so shoddy that you yearn for the camerawork, lighting and polish of his shows.
  63. For all its incongruities, The Yards is a serious film that strives for a moral complexity and a textural density rarely found in contemporary dramas.
  64. A barbed reflection on the great divide between secular and ultra-Orthodox Judaism in Israeli culture. But its digressive screenplay lacks focus and momentum and is too oblique to connect many of the dots between its characters and their behavior.
  65. Although Free Radicals overflows with messy feelings, it maintains such a measured distance from the gathered cries and whispers that it is difficult to empathize with the characters' fears and sorrows. Most of the women are victims, most of the men selfish pigs, and their stories are jarringly punctuated by brutish, joyless bouts of sex.
  66. For a political thriller, Storm is remarkably restrained. There are no flashbacks to the wars in the Balkans or to the atrocities in the hotel.
  67. Considerable care goes into establishing the premise, but the film eventually abandons psychological subtlety for hallucinatory garishness, which is too bad.
  68. Over the course of 105 minutes, the brutal high contrast begins to strain the eyes. Effectively moody as it is, the style makes a convoluted story of corporate greed, high-tech espionage and science run amok even more difficult to follow.
  69. Certainly the fictionalized brood in All Good Things is equal to the Friedmans in terms of dysfunction, and they're loaded.
  70. This is a story full of people being miserable, humorless and selfish, despite having been given a lot in life, and they’re pretty much the same at the end of it as they were at the beginning.
  71. For a movie premised on unrelenting action, Crank proves fatally turgid.
  72. Either way, it doesn’t quite go far enough as psychological study or cultural commentary.
  73. Keeping Up With the Steins would have been a much better film if it had waited twice as long before retracting its fangs.
  74. The movie lurches from the improbably silly to the drearily so, while the characters remain so emotionally and psychologically divorced from life that they might as well be zombies or sitcom stick figures.
  75. An enraptured fantasia of high times at the hotel, the film is so intoxicated with the Chelsea’s bohemian mystique it virtually consumes itself.
  76. A mildly diverting period heist movie.
  77. This witty first feature is a flawed but diverting meditation on finding inspiration while losing your soul.
  78. As Terraferma tightens its focus on a courageous resolution of tough issues, too much nuance is jettisoned along the way.
  79. The narrative may flag, but the doomsday atmosphere and George Liddle’s production design remain vivid until the final, blood-splattered reel.
  80. Life is suffering, as the Buddha said (including in Hardy's emotionally grinding novels), but it's more complex and contradictory than the ginned-up realism Mr. Winterbottom delivers here.
  81. Though the tone is quiet and the pacing serenely unhurried, Sleeping Beauty is at times almost screamingly funny, a pointed, deadpan surrealist sex farce that Luis Buñuel might have admired.
  82. Ms. Giocante's intoxicating mixture of gamine innocence and womanly knowingness is almost too much for the movie - Lila is surely too much for Chimo - but her charisma, and Mr. Doueiri's insouciant, heart-on-the-sleeve style give it a mood that is at once breathlessly romantic and cannily down to earth.
  83. At its most provocative, Severe Clear pungently evokes a heroic Marine Corps mystique.
  84. I can't say I enjoyed it, but I acknowledge that You All Are Captains has something to express that can't be said except the way it's said, and that way there be art.
  85. Mr. Matsumoto, as if realizing that viewers might need to wake up, stuffs a ball gag in a child’s mouth and throws in some reflexive nonsense involving an old director and some critics who seem to be watching the same movie you are. They think it’s terrible and finally it’s hard to disagree.
  86. Watching it is like spending a day at an amusement park, which is probably what Mr. Spielberg and his associates intended. It moves tirelessly from one ride or attraction to the next, only occasionally taking a minute out for a hot dog, and then going right on to the next unspeakable experience.
  87. A crude but scathing portrait of suburban life.
  88. While Paul seems great conceptually, he's not particularly interesting or surprising.
  89. Even if it doesn't add up to more than a fitfully amusing collection of comic sketches, Color Me Kubrick is a platform for John Malkovich to burst into lurid purple flame.
  90. As Holy Smoke moves from its early mix of rapture and humor into this more serious, confrontational stage, it runs into trouble.
  91. Often very smart about being silly.
  92. While impressively made, this impassive and cold feature fails, in a spectacular fashion, to deliver the thrills.
  93. Fortunately, Mr. Kumai, who himself has shown no aversion to baroque melodrama, leans here toward a plain and direct style that is tasteful and intelligent, a boon, given the predictability of the story. He understands the difference between pitiable and pitiful.
  94. A terrifically deft picture about the thick line that separates movie glamour from the real world, and the thin line between common sense and paranoia.
  95. The movie imprisons its talented cast (including Alia Shawkat as Danny’s overlooked soul mate and Brandon Hardesty as his worldly best friend) in roles that leave little room for anything but caricature.
  96. Ego struggles and innovator's laments (nobody gets us!) are a refrain in many band documentaries. How to Grow a Band adds a modest but effective entry to the genre's back catalog.
  97. No one in this complex and haunting documentary feels fully explained.
  98. Has a complicated story to tell, about black surfers and, more broadly, about African-American history and the history of surfing. Great topics all, but that's a lot of ground to cover and, unsurprisingly, the film often feels a bit scattershot.
  99. Despite Mr. Yen’s impressive physical virtuosity, his stoic, often humorless presence tends to neutralize the emotional temperature.
  100. Although Mr. Pawlikowski often shows Mr. Hawke in medium and long shots, the actor draws you close. There's anguish in Tom's face that speaks of a terrible fragility and that leavens the story's mysterioso proceedings with a real, recognizable humanity.

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