The New York Times' Scores

For 12,960 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 Sleepless in Seattle
Lowest review score: 0 Grown Ups
Score distribution:
12960 movie reviews
  1. 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.
    • 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.
  2. 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.
  3. 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.
  4. 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.
  5. Charts a sentimental struggle toward manhood with period-appropriate charm.
  6. 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.
  7. The director, Josh Appignanesi, has a nice sense of comic timing, slipping in some of the best jokes when you least expect them.
  8. 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.
  9. The movie is sharp, charismatic and so light on its feet we never know which way it will turn.
  10. 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.
  11. 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.
  12. Immersed in the alien beauty of the Kazakh steppe, "The Gift to Stalin" moves slowly but engages thoroughly.
  13. 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.
  14. An engaging, provocative documentary.
  15. 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.
  16. 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.
  17. An agreeable documentary about the pop singer Rick Springfield and his legions of female fans.
  18. 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.
  19. It’s then, as nature documentary and inspirational device, that Wampler’s Ascent finds its power.
  20. The film is at its strongest when Russell and Kevin face tests of their character brought on by their interactions with homophobic students.
  21. Simon Brook used five hidden cameras, and the audience has a sense of witnessing intimate moments rather than watching a performance.
  22. It’s a proud film but average.
  23. A perfectly serviceable entry in the young-adult dystopian sweepstakes.
  24. 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.
  25. 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.
  26. This low-key drama so insistently resists epiphanies that it verges on bland.
  27. On the Way to School never wavers in its bland uplift.
  28. 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.
  29. Falling back repeatedly on in-your-face symbolism — especially with regard to the specter of decline — Mr. Salvadori seems content to idle in neutral.
  30. 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.
  31. 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.
  32. 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.
  33. Making a Killing generates a disgust that can’t be shaken.
  34. In Antonio Banderas, Mr. Hudson has a winning de Sautuola of personal modesty, scientific integrity and paternal warmth.
  35. 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.
  36. A case of excellent actors’ straining to elevate a contrived screenplay.
  37. Clearly, the architect and the filmmaker are tight, which does not entirely benefit Big Time.
  38. 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.
  39. Some stronger filmmaking would be welcome, sure, but After Louie has an honesty that’s often just as valuable.
  40. You’re left wanting more, but not quite the “more” Iron Man 2 works so hard to supply.
  41. 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.
  42. 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.
  43. If this movie is not a ride, then what is it? One thing it may not be, quite, is a movie.
  44. 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.
  45. Horror without suspense is like sex without love: you can appreciate the technicalities, but ultimately there’s no reason to care.
  46. Ms. Bonham Carter's hearty performance makes Mrs. Potter almost lovable. You may laugh at her garishness, but you applaud her pluck and stamina.
  47. 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.
  48. 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.
  49. As television drama, Generation War is unquestionably effective. As dramatized history, it is pretty questionable.
  50. 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.
  51. Kim Chapiron, proves an excellent choreographer of brutality...But without a strong political point (unlike its source material), Dog Pound feels hollow and hopeless.
  52. 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.
  53. The vein-popping mood is ultimately more exhausting than exciting.
  54. 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.
  55. Despite its sociological tidbits and flashes of musical vitality, Saudade do Futuro never goes anywhere.
  56. 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.
  57. 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.
  58. There is a grungy high spirit during the first third of this film, but then it dissipates like a mist from an aerosol can.
  59. Though it is an ambitious - at times mesmerizing - application of the latest cinematic technology, the movie tries to recapture some of the menace of the stories that used to be told to scare children rather than console them.
  60. It’s sweet, sentimental, almost inevitably touching if not especially persuasive, brushing against the thorns in each man’s life without drawing blood.
  61. This may be the coach's story, but to the extent that Coach Carter is interesting rather than merely inspirational, it's because of the team.
  62. May be a comedy, but its images of physical frailty are inescapably unsettling. As the camera fixates on frail, spotted trembling hands unsteadily reaching out, it is impossible not to imagine a future in which those hands could be yours.
  63. What makes 1,000 Times Good Night more than a dramatic essay on wartime journalism is Ms. Binoche’s wrenchingly honest portrayal of a woman of conscience driven by a mixture of guilt, nobility and self-importance, reckoning belatedly with her destructive impulses.
  64. By discarding most of the theological debate, the movie is no longer a passion play but a gritty and despairing noir. That's good enough for me.
  65. A candy-colored never-never land that Peter Pan might envy.
  66. It is hard to feel much warmth toward people whose most salient feature is their disconnection from reality.
  67. Despite frequent flashbacks and Bobby Bukowski’s richly dimensional photography, the movie has a static, stagy look that amplifies the oppressiveness of its increasingly unpleasant exchanges.
  68. Content to go only a third of the way to the bottom of its characters, the movie gives each a few comic tics and leaves it at that.
  69. Nasty, brutal and unforgiving, A Walk Among the Tombstones is one of those rare contemporary cinematic offerings: intelligent pulp.
  70. As long as it focuses on its feverishly needy central characters, neither of whom you would ever want to have as a friend, it remains true to itself.
  71. A passably amusing romantic comedy with a laugh-strewn script that's almost undone by the hard sell of an enterprise that drills every emotional beat into your head.
  72. Traveller is just a hot little sleeper with strong characters and a story to tell.
  73. The fallibility of the romantic ideal -- which is nonetheless indispensable on screen and off -- is something Hollywood has trouble dealing with. "The Break-up," in which Jennifer Aniston and Vince Vaughan did just what the title promised, would have been a more notable exception if it were anything like a good movie. The Last Kiss, while not quite a good movie either, at least deserves credit for its honesty.
  74. Astringent and unsentimental, it is a case study of losing, its clear eye focused unwaveringly on the realities of commerce and kinship.
  75. There's a little more sex than you'll see on WB, but mostly there's an atmosphere of brooding psychodrama and erotic cruelty that falls somewhere between "Cries and Whispers" and "Say Anything."
  76. It reminds us that Italy is beautiful, that Fascism was a dreadful nuisance and that Sean Penn is a great actor, deserving of better vehicles than this vintage lemon.
  77. By the end, after an hour and a half of wondering -- sometimes amusedly, sometimes impatiently -- just what this strenuously unconventional movie is supposed to be, you discover that the answer is as conventional as can be.
  78. The movie...tries to juggle too many characters at once (its title means "story plot" in Hebrew), and in several cases their connections aren't adequately explained.
  79. Wind is not commonplace movie making. The sailing sequences, including one short, very funny race off Newport involving the kind of small boats you and I might sail, surpass anything I've ever seen on the screen. There are collisions at sea, wrecked spinnakers and freak accidents, like the one during a race when a sailor finds himself hanging upside down from the mast as the other boat gains. These things exhilarate as they threaten to stop the heart.
  80. Anyone digging through the cemetery soil again had better have fresh ideas. The Cured, the debut feature from David Freyne, has roughly two.
  81. An immigrant-family comedy that hits all the sentimental clichés of the genre as if they were stops on the No. 7 train.
  82. Although Mascots is neither as funny nor as satirically acute as its forerunner, it would be churlish to complain too loudly. And the sharpest verbal jokes in the screenplay by Mr. Guest and the actor and writer Jim Piddock are as inspired as ever. Mr. Guest’s gift for the archly comedic mot juste is undiminished.
  83. There’s something irresistible about watching two people fall in love, even in contrived, sniffle- and sometimes gag-inducing films like Last Chance Harvey.
  84. The laughter is mean but also oddly pure: it expels shame and leaves you feeling dizzy, a little embarrassed and also exhilarated, kind of like the cocaine that two of the main characters consume by accident.
  85. All setup and no payoff.
  86. True Adolescents, like most indie movies related to the mumblecore school, is a delicate piece of machinery. Its truth lies in the tiniest details: the pauses, the stricken looks, the false bravado, the pathetically redundant slang (so many "dudes").
  87. Instead of delivering buckets of guts and gore, this ghost story offers a strong sense of time and place, along with the kind of niceties that don't often figure into horror flicks, notably pictorial beauty, an atmosphere throbbing with dread and actors so good that you don't want anyone to take an ax to them.
  88. This earnest, well-intentioned movie elicits frustration that its story had to be packaged as a conventional, not very suspenseful fugitive thriller with a bogus Hollywood ending.
  89. While at times fascinating, this trudge through statistics, graphs and grainy film of cholesterol bubbles and arterial plaque may challenge even the most determined viewer.
  90. As directed by Lewis Teague, Cujo is by no means a horror classic, but it's suspenseful and scary. The performances are simple and effective, particularly Miss Wallace's. And Danny Pintauro does a good job as the frightened child.
  91. As is often the case when ambitious young filmmakers have murder and profit on their minds, Mr. Alvart is finally less interested in the nature of man than in the cool stuff you can do with a camera, which he tosses about the set, swooping it up and down and all around, without rhyme or reason.
  92. Employing scaled-down sets and low-budget audacity, Mr. Parker, an intelligent and boundary-testing filmmaker, proves less concerned with logic than with how far he can push his characters.
  93. The format and the purposeful blandness of the script make Jordan seem remote, more icon than human being.
  94. Ms. Moreau, still an imperious presence at age 75, makes no effort to look or sound like Duras -- this is one sacred monster stepping in for another.
  95. He plies his viewers with plenty of bread -- chewy and, to some tastes, dry and starchy scenes -- but he also scatters petals of whimsy and delight to nourish the senses.
  96. Unfortunately, the rest of the movie does not live up to Mr. Russell's performance.
  97. It mocks the absurdity of war, but between the chuckles, and especially near the end, it plucks the heartstrings.
  98. The first feature written and directed by Martin Koolhoven. It reveals him as a skillful manipulator of disturbing visual images (much of the film is washed in inky blue) and a screenwriter adept at sustaining a mood of impending doom.
  99. The movie, though lovingly handmade by Mr. Craven, has a frustratingly disjunctive rhythm.

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