The New York Times' Scores

For 9,703 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 The Hours
Lowest review score: 0 If One Thing Matters: A Film About Wolfgang Tillmans
Score distribution:
9,703 movie reviews
  1. It's showtime!" says Jimmy, the one-man band of American Animal. And for Matt D'Elia, who plays him in this hour and a half of pretentious mind games, it certainly is. There are other players, but it's all about Jimmy, portrayed with a free-associative, Jim Carrey-like mania.
  2. The journey from page to screen may have battered Mr. Welch’s novel, but its lamenting heart beats loud and clear.
  3. A familiar underdog story told with unusual sensitivity.
  4. Wildly overproduced and filled with fussy flourishes that make even a derelict hallway look like a million bucks, Dark Water fails to rustle up either meaning or meaningful scares.
  5. There is all kinds of potential here, but Mr. Haggis lacks the Hitchcockian sense of mischief to make it blossom.
  6. The Man of My Life is a sumptuously illustrated but shallow fable of the grass-is-greener conflict between freedom and commitment.
  7. Spurred by the medical and emotional problems of her own three children, Ms. Abeles embarked on a deeply personal inquiry into the insanely hectic lives of too many of our offspring.
  8. An aimless film about an aimless fellow, but it's not without its charms. It may be without a point, but hey, you can't have everything in a no-budget film like this.
  9. By the time the humor overreaches, escalating into the surreal, you’ve fallen under the movie’s spell. Audacity and invention more than compensate for the deficiencies. Who knows what Ms. Cohen will do next? But it should be interesting.
  10. The movie’s grittiness — the director, Jim Taihuttu (“Rabat”), shoots Wolf in black and white — its intrigues, its graphic violence and Mr. Kenzari’s performance make for a worthy addition to the annals of gangster films, Interpol edition.
  11. The shriller its didacticism, the more unhinged it becomes. But even at its most ludicrous - when it is shouting into your ear - its sheer audacity grabs your attention.
  12. Mr. Rodriguez demonstrates his talents more clearly than ever -- he's visually inventive, quick-witted and a fabulous editor -- while still hampering himself with sophomoric material.
  13. Ms. Bening's precise, pitiless tracing of her character's decline from feisty defiance to pathetic, overmedicated self-delusion gives the film an emotional weight it might not otherwise have.
  14. As witless as it is formulaic.
  15. The strongest analogue for the second half of Insidious is one that the filmmakers probably weren't trying for: it feels like a less poetic version of an M. Night Shyamalan fairy tale.
  16. To borrow from a term for the gritty, working-class British dramas that this film also nods to, it’s a kitchen-sink caper.
  17. The film is frustratingly uneven in its presentation.
  18. (Fishburne's) performance here, witty and profane, vulnerable and strutting, nearly holds the movie together.
  19. The worst of it is painless; the best is funny, sly, cheerful and, here and there, even genuinely inspired. [15 May 1987, p.C3]
    • The New York Times
  20. This is "Pretty Woman" for children.
  21. A quirky offering by Kyle Smith that does nothing more or less than show a touch-football game among friends. "It's sort of interesting," you might find yourself saying, "but is it a film?"
  22. Paints an alluring picture of a pan-European cosmopolitan culture whose characters hopscotch from one country to another with hardly a second thought in a lighthearted floating party.
  23. What makes this one different? Absolutely nothing. (Sure, it's based on a true story, but I mean come on, whatever.)
  24. The sense of predestination hangs heavily over the movie, but not a sense of life.
  25. Though powerfully acted and dazzlingly shot (by Walter Carvalho) in heavenly black and white, Heleno is a feverish opera that, like its doomed antihero, loses vitality much too soon.
  26. Just like its main character, this smart, slyly witty movie with few laughs undersells itself.
  27. As the film moves through his world of blood and sex and curdled machismo, The Devil's Double inhales some of his toxic, shallow energy. At times you feel as if you were stuck in "Grand Theft Auto: Baghdad City," which, while entertaining enough, can also become a bit wearying.
  28. Antonio Negret's sloppily executed film plays like a car commercial and a military-recruitment promo.
  29. The script, by Mr. Canon and Doug Simon, eventually strains credulity - even frat boys aren't this dumb - but Mr. Canon, in his first feature, shows a great knack for keeping things moving. The gathering implausibility is dispelled by a nice ending twist.
  30. Despite the slow start Mr. Condon closes the series in fine, smooth style. He gives fans all the lovely flowers, conditioned hair and lightly erotic, dreamy kisses they deserve.
  31. We Are the Giant builds up quite a rhetorical head of steam, but it doesn’t try to analyze the conflicts it observes or to fill in the history, except in the broadest sense of placing these uprisings on a list of rebellions that stretch back through millenniums.
  32. Mr. Carpenter has directed the film with B-movie bluntness, but with none of the requisite snap. And his screenplay (written under the pseudonym Frank Armitage) makes the principals sound even more tongue-tied than they have to. [4 Nov 1988, p.C8]
    • The New York Times
  33. An enthralling documentary.
  34. The territory where the circus sideshow meets the avant-garde...visually arresting, dramatically blurry.
  35. The film's flamboyant portrayals of characters you love to hate have a malicious comic edge. If ever there were a movie to gladden the hearts of misanthropes, this is it.
  36. Undercooked, although it feels enough like a comedy for you to swallow it if you have to.
  37. A monumental treat as well as a crafty assemblage of mythologies.
  38. May be pure hokum, but at least it knows how to spin a yarn.
  39. A wan, wistful Generation Y romance.
  40. Viewed simply as a horror movie, A Horrible Way to Die is diverting; viewed as commentary on our willingness to tune out evil for the sake of emotional connection, it's devastating.
  41. Ultimately his story draws more energy from class than from criminality: awash in sludgy browns and rotting greens - the colors of poverty and decomposition - this unpredictable oddity is a little bonkers but a lot original.
  42. Fast and mostly fun, the movie also seems compulsively too much, throwing everything it can think of at you, lest it fail to entertain.
  43. This distillation of Philip Shabecoff’s book doesn’t really capture the urgency and militancy promised in the title.
  44. This gentle comedy, while entirely unmemorable, releases a genuine warmth that deflects harsh judgment. It doesn’t, however, excuse characters that are little more than props for embarrassing fashion or delivery systems for dated slang.
  45. Everyone involved in "Never Say Never" is working overtime to prove that he is, as one of them puts it, "just a regular kid who had a dream," while everything about the movie screams the opposite.
  46. In its sweet, lackadaisical way, Michel Gondry’s Be Kind Rewind illuminates the pleasures and paradoxes of movie love.
  47. Exodus is ludicrous only by accident, which isn’t much fun and is the surest sign of what we might call a New Testament sensibility at work. But the movie isn’t successfully serious, either... To be fair, there is some good stuff here, too. Mr. Scott is a sinewy storyteller and a connoisseur of big effects.
  48. Return of the Jedi oesn't really end the trilogy as much as it brings it to a dead stop. The by far the dimmest adventure of the lot.
  49. A quick-sketch routine stretched - amusingly, absurdly, thinly - to feature length.
  50. Hook is overwhelmed by a screenplay heavy with complicated exposition, by what are, in effect, big busy nonsinging, nondancing production numbers and some contemporary cant about rearing children and the high price paid for success.
  51. Modest and diverting, rough and bland, with some good (if not quite Bette Davis caliber) actors and so-so special effects.
  52. For much of the movie, the kinetic furor of the game sequences helps camouflage the weaknesses of a screenplay that is a mechanically contrived series of power struggles.
  53. Poverty, capable of stunting lives, can also blight films. A case in point is the earnest and heartfelt but undernourished and plodding Off the Hook.
  54. Mr. Gooding’s performance and his complex charisma are fascinating to watch throughout.
  55. The Mother of Tears is silly, awkward, vulgar, outlandish, hysterical, inventive, revolting, flamboyant, titillating, ridiculous, mischievous, uproarious, cheap, priceless, tasteless and sublime.
    • 52 Metascore
    • 50 Critic Score
    An unwieldy mix of political satire and lavish period soap opera.
  56. The film feels authentic only during the scenes between Valentín and his selfish, angry father.
  57. Oddly charming.
  58. Sunny, pleasant, squeaky-clean family film in which nothing surprising happens, and that is the point. Ms. Wood has a poise and wistfulness beyond her years, and she seems likely to follow the path of the child star Diane Lane into more nuanced adult roles.
  59. Eastwood directs a sensible-looking genre film with smooth expertise, but its plot is quietly berserk.
  60. The cast, working in conditions that appear to have been only slightly less dire than those portrayed in the film, work together in a grim, convincing improvisatory rhythm.
  61. Almost a textbook example of what can go wrong when an artistic bad boy decides to be good.
  62. As a yammering, swishy talk show host, Chris Tucker is flat-out incomprehensible, while Mr. Oldman preens evilly enough to leave tooth marks on the scenery.
  63. Handsome but empty film.
  64. The central conceit of the characters' fates being determined by the "rules" of horror movies feels irredeemably tired; a clever idea that was worth one movie.
  65. It parades neither the egghead aspirations of "Star Trek" nor the thick-skulled pretensions of "X-Men Origins: Wolverine," but instead feels both comfortable with its limitations and justly proud of its accomplishments.
  66. Short-circuits the novel's quirky charms and period atmosphere by its squeamish attitude toward gritty circus life and smothers the drama under James Newton Howard's insufferable wall-to-wall musical soup.
  67. The always fantastic Paddy Considine evokes both sensitivity and explosiveness.
  68. Though not pretentious, his film feels a tad overthought, held back somehow by a stubborn, dour obscurity clouding its freshly realized, lurid milieu.
  69. As big a bouquet as the film is to Mr. Ferlinghetti, it is also a mash note to City Lights, a cultural touchstone and North Beach landmark.
  70. It can be nice to spend time with these actors even when you don’t believe their characters for a single second, and there’s no denying this movie’s easy pleasures... Yet because Mr. Clooney can’t figure out what kind of story this is, he too often slips into pandering mode.
  71. So undistinguished that the moments you remember best are those that you wish another, more original director had tackled.
  72. Rudderless, the misbegotten directorial debut of William H. Macy, is so dishonest, manipulative and ultimately infuriating that it never recovers after its bombshell revelation two-thirds of the way into the movie.
  73. Ms. Thurman is the one bit of genuine radiance in this aggressively and pointlessly shiny, noisy spectacle.
  74. the Australian drama Felony proves only that skilled actors and slick photography can tart up even the most problematic script.
  75. Endearingly ridiculous.
  76. Startlingly direct if unavoidably preachy, The Second Chance takes aim at Christianity's racial divide and the corporatization of faith. Its message is simple: being a Christian requires more than just dropping a check in the collection plate every Sunday morning.
  77. As beautiful as it is, Epic is fatally lacking in visceral momentum and dramatic edge.
  78. Sadly, if this movie was a fight, they'd have stopped it.
  79. Depp's witty, spare performance gives the picture a poignancy -- a depth of feeling, if you'll allow the pun -- that Mr. Demme's hectic direction and the hurried script by David McKenna and Nick Cassavetes don't quite earn.
  80. It lumbers from one scene to the next with the stop-and-start mistiming generally seen in the outtakes shown at the end of the "Cannonball Run" movies, which this picture resembles in spirit.
  81. The story of self-discovery through which the writer and director Audrey Wells leads Frances is eminently superficial, although Ms. Wells keeps the movie going with a steady, commanding hand and casts it with an actress who can deftly downshift from serene to sodden.
  82. A 1950's movie magazine fantasy dressed up just enough to pass for contemporary.
  83. Predicated on two ideas -- that human nature is rife with perfidy and that it's important to get the cast into hot cars or bathing suits whenever possible -- Mr. McNaughton and the cinematographer Jeffrey L. Kimball (''Top Gun,'' ''True Romance'') give a decadent gloss to this far-fetched, quintuple-crossing tale.
  84. A great big juicy gob of apocalyptic paranoia.
  85. Well-meaning and hopelessly bland, You'll Get Over It, instantly drops into the tone of didactic realism that rules most television fiction, drawing easy moral lessons from a scrubbed-up simulacrum of everyday, middle-class life.
  86. The belated sentimentality of the movie is as thudding as its fire-and-brimstone moralism; they're really two sides of the same counterfeit coin.
  87. Think of it as a kind of “Twilight Zone 2007” in which the paranoia endemic to an industry that runs on illusion, hype and extravagant grandiosity comes home to roost.
  88. It feels mostly authentic until a contrived ending that leaves a saccharine taste.
  89. Essentially and very effectively a rollicking smash-and-crash chase movie that happens to be surprisingly well acted.
  90. Hit So Hard is the touching story of how and why Ms. Schemel ended up in her own private hell and how and why she made her way out again into the world of sunshine, sobriety and puppy dogs.
  91. Revelations unfold predictably, but the subplots cohere and the assured pacing offers a stark contrast with the often disjointed tempos of Mr. Perry’s mosaics.
  92. After 90 minutes of My Blueberry Nights, which pass pleasantly enough, with swirly, mood-saturated colors; lovely faces; and nice music, you may feel a bit logy yourself -- filled up, sugar-addled, but not really satisfied.
  93. The movie’s principal saving grace is Ms. Winslet’s convincing portrayal of Adele, a despairing woman of low self-esteem just a twitch away from a nervous breakdown. In almost every other respect, this overbaked romantic hokum is preposterous.
  94. The appealing Mr. Corden manages the not insignificant task of maintaining interest in a story whose climax has already been passed around on YouTube.
  95. Appropriately cynical, pleasantly camp (Coco has the best hair -- a teased, sprayed flip) and just fresh enough to be funny more often than not.
  96. A nicely cast, respectable remake.
  97. Suffused with a glow of apple-cheeked nostalgia that often clings to baseball movies. The movie may be set in the present, but its likable clean-cut twins exude more than a whiff of gee-whiz 1950s innocence.
  98. Unfortunately, Linsanity, following the conventions of the sports bio genre, ends at its peak, with only a brief nod to these events. Lin raised his game’s possibilities; you just wish that Mr. Leong had raised his.
  99. There’s not much new under the moon here, which makes what the writer and director Richard LaGravenese does with the story all the more notable.

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