The New York Times' Scores

For 12,816 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 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Death of Stalin
Lowest review score: 0 Whipped
Score distribution:
12816 movie reviews
  1. It's not giving away state secrets to report that Rocky finds that success has made him fat and that to triumph again, he has to learn to be ''hungry.'' Rocky's problem is thus not that of America in the 80's but more like America in the affluent 60's and early 70's.
  2. If the characters are likable enough, they are underdeveloped and have little of the quirky individuality or dimension of the adventurous seniors portrayed in the superior (but sugarcoated) movie "The Best Exotic Marigold Hotel." For a truthful film about those final years, you'll have to wait for Michael Haneke's heartbreaking masterpiece "Amour," which is to open in December.
  3. This spare, minimalist film is not realistic. It has the simplicity of a silent movie, and the blocking of the actors, especially in the scenes with Koistinen and Mirja, emphasizes the distances between them.
  4. It's like being trapped in a roomful of teenage girls for 80 minutes.
  5. To experience Chimpanzee, the latest piece of gorgeously shot pablum from Disneynature, is to endure an orgy of cuteness pasted over some of the most asinine narration ever to ruin a wildlife movie.
  6. The plotting is somehow both flat-footed and operatic in its absurdity. Character arcs are tangled, flattened and foreshortened. Common sense is knocked silly. But Mr. Fuqua has never been a director to let ridiculousness get in the way of visceral action.
  7. Like "Blood Simple," it's full of technical expertise but has no life of its own... The direction is without decisive style. [11 Mar 1987, p.C24]
    • The New York Times
  8. Works so hard at celebrating wide eyes and naïve joy that it comes close to spoiling its own intermittent wonderfulness.
  9. The film doesn’t really live up to its subtitle. There is little sense of what kinds of debates take place at board meetings or how pressure is applied behind closed doors.
  10. The film insists so strenuously on its themes of redemption, tolerance, love and healing that it winds up defeating itself, and robbing Ms. Kidd’s already maudlin tale of its melodramatic heat.
  11. Mr. Burton, whose artistry is at times most evident in its filigree, can be a great collector when given the right box to fill, as is the case here. He revels in the story’s icky, freaky stuff; he’s right at home, which may be why he seems liberated by its labyrinthine turns and why you don’t care if you get a little lost in them.
  12. This much sweetness and light in a movie is all very well. But there's a reason that recipes for cake and cookies call for a pinch of salt. In Miss Potter, there is only a grain or two -- not enough to dilute the sugary overload. The film is the cinematic equivalent of a delicate English tea cake whose substance is buried under too many layers of icing.
  13. It's beautifully played and will hit home with anyone who has had to struggle with the most difficult aspects of aging.
  14. The early parts of the film are engaging and well acted, creating a believable high school atmosphere. Unfortunately, the later part of the film is slow in developing, and it unfolds in predictable ways. The special effects are good, the performances are nicely deadpan, and the score is clever. But Christine herself is something of a bust.
  15. For the second film, Babak Najafi has succeeded Daniel Espinosa as director. The structure here is more mechanical, and the ambience scruffier, as the complicated story shifts from one disreputable lowlife to another.
  16. Niftily paced and tight as a chokehold, the script (by the comic-book writer Scott Lobdell) delivers just enough variation to hold our interest.
    • 57 Metascore
    • 60 Critic Score
    Rambling and disorganized. At the same time, though, The Hammer also has dry wit and unforced working-class swagger, and hits some surprising emotional notes.
  17. As a trippy, trifling memorial to a time before its eponymous club was a mini-mall and rave culture a woozy memory, Limelight delivers the messed-up goods.
  18. The movie is sloppy.
  19. Doesn’t have the original’s wooden performances, puffy clothes and hairdos or its amusingly crude special effects, but it does share its blood lust.
  20. Mr. Téchiné ’s methodical storytelling covers more narrative ground than the drama requires, sapping the film’s energy.
  21. Madagascar arouses no sense of wonder, except insofar as you wonder, as you watch it, how so much talent, technical skill and money could add up to so little.
  22. Brims with understanding of the complexities of relationships, the frailties of humankind and the possibilities of joy.
  23. Finally fails to escape the conventions of the Hollywood cinema it so proudly deplores.
  24. The scruffy, outspoken train-hoppers in Sarah George's exhilarating documentary, Catching Out, are a sure sign that the pioneer spirit still flickers in pockets of TV-wired America.
  25. The film's mix of romance and reading matter is seductive in its own right, providing comfy book-lined settings and people who are what they read and write.
  26. Makes the best possible argument for a cautionary drama that contemplates the absolute worst in us.
  27. Richly atmospheric and suspenseful.
  28. In the end Amen is neither as moving nor as illuminating as it should be. It suffers especially when compared -- as is inevitable, given the closeness of their release dates -- with "The Pianist," Roman Polanski's movie about a Polish Jew during the Nazi occupation.
  29. Hannibal, a silly though handsomely staged adaptation of the Thomas Harris novel directed by Ridley Scott, is a movie meant for the whole family -- the Manson family.
  30. Ms. Polley is a naturally subtle actress, and part of her appeal lies in an unusual ability to seem at once forthright and enigmatic, but this time she comes off as a bit smug.
  31. For an outside observer, Saints and Sinners doesn't make particularly compelling viewing, but Ms. Honor has given her subjects an excellent present on their big day: the ultimate wedding video.
  32. The movie's atmosphere is, in many ways, more interesting than its story. Mr. Robbins and Ms. Morton are not the warmest actors. He can be mannered and smug, and she often seems to beam her performances from a strange, private mental universe.
  33. It takes skill to drain a perfectly good story like that of all intrigue and momentum, but Richard Sylvarnes, a photographer who directed the movie, manages to pull it off.
  34. This one-sided account brings some lesser-known offenses to light and advances a scenario that is bold and detailed. But it is hardly dispassionate.
  35. Dan Harnden's screenplay keeps things relatively interesting, despite the very thin plot.
  36. Like Giuseppe Tornatore's "Cinema Paradiso," Just One Look is a tribute to the formative power of cinema, a coming-of-age film that nimbly interweaves the adolescent hero's struggles with clips from the movies that shape his romanticized notions of life.
  37. But if Usher is stilted, it is also quite touching, and if Mr. Harrington's acting is less than natural, it's completely in line with the standards of the genre. Vincent Price was no Olivier either.
  38. Larry (Wild Man) Fischer, the psychotic songwriter and performer (found to be both paranoid-schizophrenic and bipolar) is sympathetically profiled in Josh Rubin's documentary.
  39. With any luck, this film will manage to open a few closed eyes (or minds).
  40. Mostly the film is a testament to the egomania of the theater: despite what's going on around them, these actors can't see just how minor their modest project really is.
  41. Using only natural light, Ms. Rivas and Mr. Sarhandi frame everything with an artistry that belies the difficulty of their working conditions, creating a film as unhurried and dignified as the Amer family itself.
    • 57 Metascore
    • 40 Critic Score
    Part domestic drama, part thriller, the microbudget shot-on-video feature Laura Smiles is so ambitious that its ultimate failure is more depressing than anything in its dark script.
  42. Unsubtle, condensed and bullet-point simple, “War Made Easy” avoids fancy visuals for a uniformly drab and dispiriting aesthetic. Sporadically narrated by Sean Penn (evincing all the personality of a potato), the movie is cinematically inert if ultimately persuasive.
  43. Precisely because their attitudes are so bluntly hedonistic and apolitical, Harold and Kumar manage to be fairly persuasive when they get around to criticizing the status quo, which the movie has the wit to acknowledge itself as part of.
  44. This multigenerational family history has enough gripping moments to hold your attention, but ultimately it leaves you frustrated by its failure to braid subplots and characters into a gripping narrative.
  45. Charts a sentimental struggle toward manhood with period-appropriate charm.
  46. It’s a well-meaning mishmash that wouldn’t pass muster as an episode of “American Masters.”
  47. Mr. Kapoor, a heartthrob who has quickly become a star playing cads, turns in a skillfully understated performance. His Harpreet is an old-school hero: solid, righteous, compassionate. You can’t help cheering for him.
  48. The filmmakers, chronicling the Dalai Lama’s somewhat muddled attempts to respond to the protesters’ calls while not antagonizing China, do a fair amount of muddling themselves. They lurch awkwardly between reverence for the Dalai Lama and hints that he has become, politically, irrelevant or an obstacle.
  49. The director, Josh Appignanesi, has a nice sense of comic timing, slipping in some of the best jokes when you least expect them.
  50. Its flashes of style are sometimes lively but more often seem, like the slavish period décor, to be desperate attempts to overcome the built-in inertia of the genre.
  51. The movie is sharp, charismatic and so light on its feet we never know which way it will turn.
  52. At several points the depiction of Ulla's isolation takes on slasher-movie overtones, which undercuts the general solemnity but doesn't really add anything to the experience.
  53. Filmed in Rwanda, Shake Hands With the Devil is certainly panoramic. But the best that can be said of the film is that it is an honorable dud.
  54. Immersed in the alien beauty of the Kazakh steppe, "The Gift to Stalin" moves slowly but engages thoroughly.
  55. Daydream Nation hopscotches forward and backward and in and out of the surreal; its abrupt tangents are announced by chapter headings. In the most complicated sequence the film tracks three characters simultaneously. The cinematography is darkly lush in an ominous "Twin Peaks" mode.
  56. An engaging, provocative documentary.
  57. That said, this deliciously nutty love story - sample dialogue: "Let me eat this heart, then we can pick azaleas together" - is blindingly gorgeous to look at and exceptionally well acted, at least by the women.
  58. Surprisingly old-fashioned. It seems to be having an argument with itself: the dazzling but often antiseptic immersiveness of the viewing experience is countered by storytelling suffused with nostalgia for a simpler, messier, livelier period in Chinese film.
  59. An agreeable documentary about the pop singer Rick Springfield and his legions of female fans.
  60. When it works, the film serves as a modest reminder that the challenges of autism may sometimes be no more daunting or fearsome than those that face anyone in search of an independent life.
  61. It’s then, as nature documentary and inspirational device, that Wampler’s Ascent finds its power.
  62. The film is at its strongest when Russell and Kevin face tests of their character brought on by their interactions with homophobic students.
  63. Simon Brook used five hidden cameras, and the audience has a sense of witnessing intimate moments rather than watching a performance.
  64. It’s a proud film but average.
  65. A perfectly serviceable entry in the young-adult dystopian sweepstakes.
  66. With strong assists from the cinematographer Zachary Galler and her ex-husband, the composer Sondre Lerche, Ms. Fastvold, previously a director of music videos, has painted a resonant tableau of dysfunction.
  67. Mr. Holsten, was a maker of the winning 2012 documentary “OC87,” a study of obsessive-compulsive disorder. His gift for portraiture shows only further refinement here.
  68. This low-key drama so insistently resists epiphanies that it verges on bland.
  69. On the Way to School never wavers in its bland uplift.
  70. Eva
    The story has several well-disguised twists, and although it’s a drama, it is sprinkled with touches of whimsy, thanks to a colorful collection of robots.
  71. Falling back repeatedly on in-your-face symbolism — especially with regard to the specter of decline — Mr. Salvadori seems content to idle in neutral.
  72. Ms. Bradley’s debut feature flutters along with inoffensive lyricism and a kindly eye, but it’s not enough to bring off a full-fledged portrayal that holds together.
  73. This comic take on “The Adventures of Huckleberry Finn” and “The Adventures of Tom Sawyer” is infused with a gleefully absurdist sense of humor while retaining a childlike sense of wonder.
  74. For a movie that promises an “epic journey” to explore a family’s “long-buried suffering,” it’s strangely unsatisfying, and eventually wearisome, to find that this clan is deeply troubled perhaps only in the eyes of its filmmaker.
  75. Making a Killing generates a disgust that can’t be shaken.
  76. In Antonio Banderas, Mr. Hudson has a winning de Sautuola of personal modesty, scientific integrity and paternal warmth.
  77. Cars could easily have been the stars of Lowriders, but the film makes them supporting players in a family drama that’s a mix of strong scenes and shopworn ones punctuated by clichés.
  78. A case of excellent actors’ straining to elevate a contrived screenplay.
  79. Clearly, the architect and the filmmaker are tight, which does not entirely benefit Big Time.
  80. The best thing about the movie, flimed mostly in Kenya, is its performances, funny and hip and self-assured in the manner of television personalities working in front of loving audiences. Mr. Caine and Mr. Poitier are never unaware that their material may not be the greatest, but that doesn't spoil their good spirits, and when a good line comes along they get maximum results without stomping on it or us.
  81. You’re left wanting more, but not quite the “more” Iron Man 2 works so hard to supply.
  82. John Rabe, has its visceral moments. But it is also burdened by manipulative clichés of a screenplay in which exposition outweighs character development. Inspired by Rabe’s diaries, from which short excerpts are read, it tells the story almost exclusively from a Western point of view.
  83. It is not entirely without charm or wit. Directed by John Lasseter (with Brad Lewis credited as co-director) from a script by Ben Queen, Cars 2 lavishes scrupulous imaginative attention on its cosmopolitan settings.
  84. If this movie is not a ride, then what is it? One thing it may not be, quite, is a movie.
  85. A middling zombie movie elevated by clever writing and gooeylicious special effects, Kerry Prior's Revenant toys with big themes but settles for uneasy laughs.
  86. Horror without suspense is like sex without love: you can appreciate the technicalities, but ultimately there’s no reason to care.
  87. Ms. Bonham Carter's hearty performance makes Mrs. Potter almost lovable. You may laugh at her garishness, but you applaud her pluck and stamina.
  88. Half of the time, the movie - based on a novel by Ivica Dikic, who collaborated with Mr. Tanovic on the screenplay - has the tone and pace of a farce. The other half, it plays like an unconvincing melodrama. The film assumes knowledge about the history and politics of the former Yugoslavia and the wars involved in its breakup that most Americans don't possess.
  89. The film, especially in its resolution, feels a bit like a “Twilight Zone” episode and might have been better at that length, but the acting’s pretty good, and the cinematography keeps things lively.
  90. As television drama, Generation War is unquestionably effective. As dramatized history, it is pretty questionable.
  91. Devotees of the series, admirers of Ms. Sedaris and fake-news junkies who can never get enough of Mr. Colbert will find reasons to see it and to convince themselves that it is funnier and more satisfying than it really is. Count me in.
  92. Kim Chapiron, proves an excellent choreographer of brutality...But without a strong political point (unlike its source material), Dog Pound feels hollow and hopeless.
  93. A dandy little documentary whether you view the story it captures as a precursor to the flash fame of the Internet age or as one of the last genuine underground phenomena before the Internet made that whole concept obsolete.
  94. The vein-popping mood is ultimately more exhausting than exciting.
  95. The film's aimlessness and repetitiveness eventually become draining. And its small touches often work better than its more elaborate ones, like an extended party sequence that seems awkward and largely unnecessary.
  96. Despite its sociological tidbits and flashes of musical vitality, Saudade do Futuro never goes anywhere.
  97. Yet for all the film's hard work at capturing Savannah's spirit, there is seldom enough context to make these characters seem anything but adorably whimsical to excess.
  98. You may not believe it's possible to bore people to death with a film about risking your life, but The Wildest Dream comes shockingly close.

Top Trailers