The New York Times' Scores

For 12,818 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 An Art That Nature Makes: The Work of Rosamond Purcell
Lowest review score: 0 Chaos
Score distribution:
12818 movie reviews
  1. Ambulant corpses may be tramping all over our movie and television screens these days, but Wyrmwood has enough novelty — and more than enough energy — to best its minuscule budget.
  2. The movie should have been a steadily escalating rampage that results in outrageous property damage. Instead, it wastes too much of its time developing the cardboard characters of the hotel manager, Robert (Jason Alexander), and his two mischievous sons, Kyle (Eric Lloyd) and Brian (Graham Sack).
  3. Magic in the Moonlight is less a movie than the dutiful recitation of themes and plot points conducted by a squad of costumed actors. The tidy narrative may advance with clockwork precision, but the clock’s most prominent feature is the snooze button.
  4. The movie is bulky and inarticulate, leaving behind a trail of wreckage and incoherence.
  5. If the film doesn't add up to a cogent legal argument, neither does it have trouble delivering 2 hours and 20 minutes' worth of sturdy, highly charged drama.
  6. Mischievously entertaining...Dahl's film has character in oversupply even if its actual characters are sometimes thin. Poker fever makes up for whatever the story lacks in everyday emotions.
  7. By literalizing the idea of American military aggression and all that it implies Ms. Nair doesn’t just invest Mr. Hamid’s story with Hollywood-style beats, she also completely drains it of ambiguity.
  8. Though Psycho II is essentially camp entertainment, Mr. Perkins plays Norman as legitimately as possible, and sometimes to real comic effect. His new Norman doesn't seem as much rehabilitated as reconstituted, but as what? That's the point of the film.
  9. Brubaker is an earnest, right-minded, consistently unsurprising movie about a penologist named Brubaker (Robert Redford), who sets out to reform a single corrupt prison and finds himself bucking an entire system, including the state administration that appointed him to his job. It says a lot about a movie that the only mildly interesting characters in it are those who are corrupt, such as the insurance-selling member of the prison board, played by Murray Hamilton, and a smarmy building contractor, played by M. Emmet Walsh, who attempts to buy Brubaker's neighborly good feelings with a homemade chocolate cake.
  10. One of the most delightful things about To Rome With Love is how casually it blends the plausible and the surreal, and how unabashedly it revels in pure silliness.
  11. This weirdly engaging tale of banking and bad behavior makes 19th-century China look uncomfortably like 21st-century America.
  12. These characters are fully alive. But the movie attaches them to a conventional, not to say creaky, hip-meets-square drama.
  13. What balances the movie is Mr. Caine's exceptional portrayal of old age as the accumulation of a lifetime's experience. In his performance the child, the youthful rogue and the forgetful codger all live at once.
  14. Though Ms. Jovovich's performance dominates the film, she remains pedestrian and underwhelming.
    • The New York Times
  15. Imagine a cut-rate "Titanic" stripped of romance and historical resonance and fused with "Jaws," shorn of mythic symbolism and without complex characters, and you have the essence of this live-action horror comic.
  16. Though the director's jet-set fantasy world of rugged jewel thieves and sailboat races, triste cabaret singers and sybaritic pleasures may feel dated and more than a little decadent, it is a nice enough place to visit.
  17. The material isn't organized in any formal way but works as a mosaic that has the feel of a jam session.
  18. Cézanne et Moi offers a pungent, demystifying portrait of the rowdy late-19th-century Parisian art world where famous painters and poets mingled and jostled for position at dinner parties and art openings filled with shoptalk, backbiting and intrigue.
  19. Like "I Am Sam," it is a film that tests your cynicism.
  20. A movie in search of a theme. Svend and Bjarne aren't bad or uninteresting characters, and certainly the two talented actors playing them are inherently watchable. But there's too little meat on these bones.
  21. Notable at least in part for its fumbled potential, this health-care-industry melodrama possesses all the right ingredients: an idealistic young lawyer, a corrupt corporate villain and a sympathetic victim. It just fails to assemble them into a compelling whole.
  22. Though it is a celebration of modesty, there is also quite a lot of vanity in The Secret Life of Walter Mitty.
  23. Though based on a remarkable true story, this clichéd tear-jerker is barely interested in Marguerite’s revolutionary teaching methods, focusing instead on the intensity of her connection to Marie.
  24. A savvy exercise in inspirational feel-good cinema lightly seasoned with grit.
  25. If the attention span of Charlie Bartlett didn’t wander here and there, the movie might have been a high school satire worthy of comparison with Alexander Payne’s “Election.” But as it dashes around and eventually turns soft, it loses its train of thought.
  26. Brazenly self-confident in its refusal to pander to the imagined sensitivity of its audience. In this it differs notably from Albert Brooks's "Looking for Comedy in the Muslim World," which approached some of the same topics with misplaced thoughtfulness and tact.
  27. A misfired, misguided would-be satire.
  28. A serious film filled with both great and awkward ideas and made as much from the heart as the head.
  29. More begets more and then too much in Mood Indigo.
  30. As the astronauts contend with airlocks, busted equipment and escape pods, it becomes increasingly difficult to pretend that this isn’t territory where more inventive screenwriters...and stronger visual stylists have gone before.
  31. Where "Ringu" derived its power from the simplicity of its premise and the purity of its execution, One Missed Call staggers under the weight of its director's taste for baroque excess.
  32. The battle scenes are as lacking in heat and coherence as the central love story.
  33. Lone Scherfig (“An Education”), the Danish filmmaker who directed the movie from a screenplay by Ms. Wade, has coaxed wonderfully nasty performances from a young cast.
  34. Mr. Buscemi wrote and starred in the small gem of a movie ("Trees Lounge"), which had more psychological nuance than this emotionally cauterized slice of minimalist malaise.
  35. The South Korean director Kim Jee-woon fails to dazzle with the endless speeding-car sequences, but that 60-second flourish during a lengthy firefight is almost worth the tedium.
  36. The movie never transcends a screenwriting formula that makes you uncomfortably aware of the machinery driving it all.
  37. The film, to its credit, never tries to pluck your heartstrings. As it follows the Geldharts around New York, they are figures in a meditative dialogue on human values that reaches no easy conclusions.
  38. The film's seductive lack of pretension will make a fan of you.
  39. Not since the latest fashion layout flirted with arty desolation, has misery looked this fabulously pristine.
  40. Entertaining, lightly mocking documentary.
  41. Because all of this looks blatantly unreal, and because the timing of the shock effects is so haphazard, Dead Alive isn't especially scary or repulsive. Nor is it very funny. Long before it's over, the half-hour-plus bloodbath that is the climax of the film has become an interminable bore. [12 Feb 1993, p.C16]
    • The New York Times
  42. Openly polemical but also sobering documentary.
  43. Nothing about Tales From the Darkside is likely to give anyone much of a scare. But thanks to casting that is savvier than the horror norm, and to direction by John Harrison that is workmanlike and sometimes even witty, at least it's fun.
  44. Mr. Records (the child actor in “Where the Wild Things Are”) is nimble and unsentimental in playing a character who is playing at normal, supported by a solid cast in a well-filmed indie that doesn’t let its low budget get in the way of some true chills.
  45. Mr. Stone builds his case seamlessly but leaves no room for dissent, much less a drop of doubt.
  46. It is not really much of a movie at all, if by movie you mean a work of visual storytelling about the dramatic actions of a group of interesting characters.
  47. Mr. Mekas makes little attempt to smooth out his transitions between takes or scenes, which only reinforces the intensely personal, even handmade nature of the work.
  48. Despite Mr. Maren’s own ample experience as a writer, the references to book culture don’t feel vivid enough to act as more than scene-setting, and the film’s strength lies in the family relationships.
    • 54 Metascore
    • 40 Critic Score
    Cashback suggests a “Malcolm in the Middle” episode directed by Paul Thomas Anderson. The hero’s pained, hilarious childhood flashbacks deserve a much better movie.
  49. In many ways Cracks is lurid and rickety. But its gripping ensemble performances lend it an emotional intensity that outweighs its shortcomings.
  50. However simply he approaches this familiar milieu, Mr. Stone winds up treating his story's sin-soaked connivers the way Francis Ford Coppola treated vampires. Neither of them is really capable of anything plain.
  51. A drama is only as convincing as its characters. The people awkwardly forced together in Battle in Seattle are rhetorical mouthpieces tied to the sketchy plotlines of a so-so Hollywood ensemble movie.
  52. There's not much in the way of message here. Or wit. Or convincing sexual chemistry. You I Love' just wants to say that young Muscovites are wild and crazy guys and that they can laugh at capitalism's excesses.
  53. Jersey Boys is a strange movie, and it’s a Clint Eastwood enterprise, both reasons to see it.
  54. The film, directed by Gregg Bishop and released by the Chiller Films horror factory, has a few good special effects, but it’s too noisy and scattershot to be suspenseful.
  55. The cinematic equivalent of a Brazilian wax, the movie omits much of the story’s most interesting material to create something that’s been smoothly denatured.
  56. High-spirited entertainment .
  57. Its most winning attribute is a kind of sloppy, unassuming friendliness, a likability aptly reflected in its characters.
  58. The much too long, primitively plotted family action adventure Hidalgo, directed by Joe Johnston, has a handful of well-handled sequences but, given the young audience the film is intended for, the picture may be like having to finish an entire pot of broccoli to get a couple of jelly beans for dessert.
  59. As the family film least insulting to its audience's intelligence this season, Mouse Hunt has its share of grown-up appeal along with mouse mischief guaranteed to have children giggling.
  60. In short, here is a VH1 "Behind the Music" special that has something a little more special behind it: music that didn't sell many records but helped change a nation.
  61. Mr. Marshall can't rescue the film from its embarrassing screenplay or its awkward Chinese-Japanese-Hollywood culture klatch, but Memoirs of a Geisha is one of those bad Hollywood films that by virtue of their production values nonetheless afford a few dividends, in this case, fabulous clothes and three eminently watchable female leads.
  62. The movie's messages are delivered with a heavy hand, but some of the scenes are eye-popping, especially -- sorry, peace-loving Terrians -- the battle sequences.
  63. Your last day - or, as it happens, the whole planet's last day - will be just like every other one. Mr. Ferrara makes this point with ingenuity and characteristic thrift by using found news footage to provide images of apocalypse.
  64. This frenetic movie has moments of wit, and Ms. Feiffer, a seasoned screen and Broadway performer, has range, stamina and charisma.
  65. In its allegiance to detail, the film is too long and perhaps overstates its case in claiming that later generations have lost an understanding of common courage, as depicted by these two artists. Their work endures, and so does what they stood for.
  66. 12-12-12 is not really a concert movie so much as it is a densely compacted scrapbook of moments onstage and off.
  67. It’s possible to admire the four directors’ unflinching depiction of the dying process, but the film is mostly unilluminating and grim — not least because almost all of the deaths discussed are untimely.
  68. It’s a quietly compelling story.
  69. Free to Run prefers nothing more than an easy jog down memory lane.
  70. The Paris Opera feels at once sprawling and insufficiently patient.
  71. The script by Nicole Jefferson Asher toggles between sharp observations about wordcraft and some “Dynasty”- or Tyler Perry-level soap operatics. RZA’s direction lacks visual personality, but he keeps the narrative moving and elicits strong performances from his cast.
  72. In retrospect, the sheer amount of gush in the movie, all the praise and feverish shouts of bravo, underscores the limits of affirmational documentaries. It is also a reminder that a movie’s meaning is made (and remade) by its viewers, not just its content.
  73. A sardonic, smart screwball comedy.
  74. A small Canadian horror film that makes the most of its minuscule budget.
  75. In spite of some acute observations and a few interesting performances (most notably from John Malkovich as Jerome's drawing teacher and the ever-reliable Jim Broadbent as Strathmore's least illustrious alumnus), Art School Confidential is a dull and dyspeptic exercise in self-pity and hostility.
  76. Ricki’s attitudes, and their place in the family and the society she inhabits, are the most interesting part of the movie, or at least they would be if Ms. Cody and Mr. Demme were not so weirdly conflict-averse.
  77. The reunion of Ms. Caplan and Mr. Starr, cast mates on Starz network's "Party Down," seemed intriguing. That series, though, with all the fizz and social comedy that this movie lacks, was a better showcase for them.
  78. In many ways Sparkle is a bumpy ride. The editing is haphazard, the cinematography too dark, and there are holes in the story. If the new songs on the soundtrack are effective Motown pastiches, most of them pale beside their prototypes. But diluted Motown is better than none.
  79. It’s hard to score big laughs with hidden-camera material these days because there has been so much of it since the “Jackass” TV show, but Mr. Knoxville and his young sidekick still land a few jaw-droppers.
  80. This is a picture with nothing to prove, and not all that much to say, but its modesty and good humor make it hard to resist.
  81. Hands of absolutely a boxing movie. A corny and sometimes clumsy one, it scatters pleasures here and there, Mr. De Niro’s alert performance among them.
  82. Erratically paced and with a pitch-black heart, the movie manipulates at every turn.
  83. For devotees of cinematic blowouts and dedicated students of screen masculinity (like me), 12 Strong is premium, Grade A catnip. Directed by the newcomer Nicolai Fuglsig, it is generally watchable, if unsurprisingly easier on the eyes than on the ears or brain.
  84. As he (Allen) interweaves two versions of the Melinda story, one meant to be bathed in pathos, the other sprinkled with whimsy, it becomes apparent that his notions of comedy and tragedy do not quite correspond either to scholarly dogma or to everyday usage.
  85. Combine two stars of this wattage with a lot of techno-talk and elaborate heist plotting and you get plenty of good reasons to pay attention.
  86. Makes a jolly absurdist stew out of its sources.
  87. Friday may touch its young target audience. For everyone else, it is more intriguing as a social problem than a movie.
  88. The two stars are attractive, and Emily Ting, who wrote and directed, makes the city look great, but during their endless strolling Ruby and Josh never get much beyond shallow banter.
  89. Mr. Hauck’s affection is apparent in every frame, yet outside of an occasionally clunky line or show-offy moment (O.K., sometimes it’s more occasional than just occasionally), he rarely allows it to alter his aim. That aim is to make a modern noir. That aim is true.
  90. If marijuana has a way of heightening the hilarious aspects of things that might not otherwise be funny, then this is very much a marijuana movie. But Nice Dreams also has a more general appeal than that. These are high spirits that don't have to do with being high.
  91. Mr. Lawther is sympathetic and appealing as Billy, but Ms. Styler seems to mistake broad strokes for stylistic daring, and her colorful but diffuse movie never jells.
  92. A movie with its heart and head in the right place. Too bad its aesthetic sensibilities and technical coordinates are not as well situated.
  93. Mr. Johnson doesn’t give fateful weight to the breadcrumbs that guide James forward. Glancing encounters and faltering conversations unfold lightly and with a visual seductiveness that the cinematographer, Adam Newport-Berra, crescendos in the film’s drifting, transformative middle section.
  94. That things tend not to end, or bode, well doesn't detract from the overall Hallmark vibe.
  95. Just below the movie’s attitude of pep-rally cheer is a mood that approaches despair. Mr. Gelbspan has probably amassed as much hard evidence of climate change as anyone alive.
  96. The director, Harold Guskin, and writer, Sandra Jennings, show admirable patience in letting the story unspool, and the actors reward them.
  97. Mr. Banker teases us with a dizzy, dislocating shooting style that throws up a succession of eerily arresting images. Even so, his film never overcomes the fact that watching drugged-out wastrels is rarely interesting — unless, of course, you’re one of them.
  98. The film’s main distraction, oddly, is the voice-over through which Nate annotates the action. A voice-over is standard procedure for the wistful-look-back genre, but here it’s forced and unfunny. This wild story sells itself, no narration needed.
  99. The whole enterprise is so fundamentally good-natured and fluffy that it’s sometimes hard to stay annoyed by it.

Top Trailers