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 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 White Material
Lowest review score: 0 Equilibrium
Score distribution:
9,703 movie reviews
  1. Every so often a movie comes along that's bad in such original and unexpected ways that it inspires an almost admiring fascination
  2. Despite a gloriously baroque performance from Mr. Wahlberg - attempting moves certified only for Antonio Banderas - Marilyn Hotchkiss Ballroom Dancing and Charm School remains irredeemably soggy.
  3. For all its manifest corniness, this is an achingly sincere and supremely unembarrassed effort to transform an audience for the good. Its heart is very much in the right place - a place that movies all but ignore - but its mind is a mush.
  4. The arts documentarian Alan Govenar takes his turn at burnishing the legend with The Beat Hotel, a mild-mannered primer centered on the cheapo Paris boardinghouse.
  5. Well acted and sporadically amusing - especially when Olivia Wilde's profanity-spewing stripper is around - Butter alternates between looking down its nose at Midwestern passions and cooing over smugly liberal values.
  6. This is the kind of cornball entertainment that rainy afternoons were made for. Throw in a cozy sofa too. Beastly will size down well on your television.
  7. X-Men Origins: Wolverine will most likely manage to cash in on the popularity of the earlier episodes, but it is the latest evidence that the superhero movie is suffering from serious imaginative fatigue.
  8. Brawny, dumb and preposterous, it nonetheless comes tantalizingly close to being a high-impact allegory of race, class and real estate in a postindustrial, new-Gilded Age America.
  9. Playing characters with no real substance, the actors struggle to develop a sense of shared peril.
  10. Looking for plausibility in a movie called Dracula Untold is as pointless as looking for humor or personality in Mr. Evans’s dour performance.
  11. Essentially, we’re watching dead people refuse to lie down, yet the acting isn’t terrible, and Scott Winig’s photography is satisfyingly bleak and grimy.
  12. Green Lantern is bad. This despite Mr. Reynolds's dazzling dentistry, hard-body physique and earnest efforts.
  13. The product is so synthetic it has only attitude where its heart ought to be.
  14. Quickly turns into an earnest talkfest (spiced with flashes of nudity and sexually explicit dialogue) that feels stiffly programmatic and ultimately false.
  15. No doubt there are those who will deem Simon Birch ''heartwarming.'' It is exactly the kind of movie that has given that hackneyed superlative a bad name.
  16. Inhale is a creepy medical thriller in the tradition of "Coma" that amps up the tension and suspense by slicing up time.
  17. The body-swapping premise, which is stale to begin with, isn't explored with any depth, unless you find meaningful Freudian subtext in the movie's relentless anal fixation. But the premise at least sets up a farce that surpasses "The Hangover" in gleeful crudeness and profanity.
  18. It may hit all-too-familiar notes, but its sureness of tone makes Mr. Schweighöfer a talent to watch.
  19. “Sea of Monsters” is diverting enough...but it doesn’t begin to approach the biting adolescent tension of the Harry Potter movies.
  20. Swing Kids looks good and moves quickly at first; later on, mired in familiar-feeling moments, it flounders
  21. Eschewing warm, cuddly imagery just as Mr. Van Allsburg's book does, the film affects a strange, artificial style that has the invasive weirdness of "Gremlins" but none of the charm.
  22. Too lazy and too scared to say anything pertinent about love, society and the human condition, Four Lovers is content to be a pleasant, mildly titillating divertissement with no meaning at all.
  23. While the movie suffers from a surfeit of flash, it nonetheless offers the undeniable power of young performers pursuing art at peak dexterity.
  24. It's one of the rare films for which a blooper reel would be redundant.
  25. In both Twist and "Idaho," the act of placing a larger-than-life literary figure in a constrained, narrowly naturalistic environment merely strips the characters of their scale and interest.
  26. Dead Man Down, unfortunately, turns out to be too innocuous to qualify as either actually good or delectably bad.
  27. The remake doesn’t as much improve on the original as match it goofily amusing moment for moment.
  28. Smothering insightful moments in verbal and musical treacle (courtesy of Harriet Schock’s sticky songs), Mr. Jaglom displays an endearing lack of cynicism but an equal lack of discipline.
  29. A comedy without a shred of obvious filmmaking and an endless stream of good, bad, sometimes terrible, often absurd jokes.
  30. Quite a bit less than the sum of its appealing parts.
  31. What elevates the movie above the run-of-the-mill singles blender is its surreal sense of humor and technological finish.
  32. Why Mr. Foxx, who was so impressive in "Any Given Sunday," chose to make a movie so boring and idiotic that it barely meets minimal standards of lowest- common-denominator entertainment.
  33. High-school cafeteria soup has more flavor than this bland, tepid throwback.
  34. It's all oddly sweet, and, for the viewer at least, more than a little dull.
  35. Born to Be Blind, for all its haphazard structure, takes you about as far inside Maria's world as a film could reasonably be expected to go, but at moments it also feels uncomfortably exploitative.
  36. If National Treasure mattered at all, you might call it a national disgrace, but this piece of flotsam is so inconsequential that it amounts to little more than a piece of Hollywood accounting.
  37. Fortunately, there is Molly Shannon as the money manager's disgruntled wife, giving a selfless, robust performance. Bracingly astringent in an unlikable role, she almost turns a potential liability into the film's salvation.
  38. The message may be clear -- suppress the past at your peril -- but the execution is a mess. As for the line-dancing soldiers, your guess is as good as mine.
  39. Death in Love hasn't a drop of humor or hope. Its dull, smudged look makes every environment appear joyless and claustrophobic.
  40. A stunningly witless revival of the infamous British film series about a girls’ boarding school.
  41. Feels like a religious tract more than a movie.
  42. An energetic, unpretentious B movie — the kind best seen at a drive-in like the one in an early scene — it is devoted, above all, to the delivery of visceral, kinetic excitement.
  43. It's no wonder the faithful continue to forsake the movies, given junky embarrassments like Nights in Rodanthe.
  44. It's enough to say that the bland romantic comedy Life as We Know It, in which there is not a single deviation from formula, is well made for its corporate type.
  45. In grabbing for the heart this one-size-fits-all fable sadly ignores the mind.
  46. Mr. Anderson displays his mastery as a director in the sword-fighting scenes... But the glares and eye rolls that bookend these scenes are what make this film both GIF-ready and campy fun.
  47. The story here, plucked from Thomas's life and embellished, proves almost entirely devoid of interest.
  48. The violence is quick and occasionally inventive, with little of the attenuated nastiness that characterizes so many genre pictures, and the photography ranges from brightly sun-kissed to down-and-dirty.
  49. Poor computer-generated effects give the movie an unsettling, two-layered feel.
  50. Unfortunately, in keeping its inflammatory subject matter at arm’s length, Provoked does exactly the same to its audience.
  51. Sprinkled with moderately amusing comic moments, but basically your enjoyment of this film will be proportional to your tolerance for the one-joke phenomenon of air drumming.
  52. Despite its shout-outs to the holiday season, this is essentially airplane fodder, not a perennial. Don’t hold your breath waiting for the sequel.
  53. It swerves from thriller to romantic comedy to farce without much conviction, though you can occasionally salvage a glimmer of amusing possibility. Mr. Williams scores with a few throwaway jokes.
  54. Mr. Pitt is a reasonably photogenic specimen. But this actor, whose typical screen character is a broken, androgynous man-child, is disastrously miscast.
  55. The movie speeds up and slows down as though controlled by a director in the grip of competing medications. For those who make it to the final beatdown, however, the only pill worth taking is the one that makes you forget.
  56. The story arc is so familiar...that the main emotional response is hollow relief as every beat is, indeed, hit just as expected.
  57. For those looking for a vacation from the irony and the cruelty that have invaded so much of American popular culture, this scruffy little Indian film is a delightful getaway.
  58. This poorly acted, ramshackle tour of the lower echelons of the Los Angeles rock scene has the feel of a largely improvised home movie filmed without retakes, and its sense of humor could only be fully appreciated by struggling musicians.
  59. If Dot the i, the directorial debut of Matthew Parkhill, has a crass visual flash, it fails to give its characters any credible substance. Even after it purports to eviscerate their psyches, they remain diagrammatic contrivances.
  60. It’s as thinly written and unoriginal as made-for-television seasonal filler, and why it isn’t on the Hallmark Channel or Lifetime is a mystery, but fans of the singers in it might get a kick out of seeing them.
  61. A tossed-off comedy from Adam Sandler's production company that makes one long for the comparative genius of "I Now Pronounce You Chuck & Larry."
  62. If all of Virtuosity were as tightly controlled as that, it would exert a greater fascination than it finally does.
  63. Taking place almost entirely inside computer-simulated global locations, "Retribution" moves closer than ever to its airless video game roots.
  64. You can't get more high-concept, or less plotted, than this, and Daddy Day Care is proof.
  65. The structure of When Will I Be Loved seems deliberately flimsy, and many of its details don't add up. But as a contemporary fable about getting and spending in the new gilded age, When Will I Be Loved strikes a chord that echoes.
  66. A cinematic canonization that presents the 40th president as the 20th century's godsend.
  67. Neither the screenplay nor the film's visual vocabulary begins to evoke a charged spiritual tension between the protagonist and the world.
  68. The schmaltzy sports movie Legendary is a kind of contemporary answer to the old Charles Atlas ad in which a 97-pound weakling develops muscles and triumphantly punches out the bully at the beach.
  69. More often, the film is like a ride through a car wash: forward motion, familiar phases in the same old order and a sense of being carried along steadily on a well-used track. It works without exactly showing signs of life.
  70. The movie’s best bits lose out to the requisite moral turnaround.
  71. This female revenge comedy is so dumb, lazy, clumsily assembled and unoriginal, it could crush any actor forced to execute its leaden slapstick gags and mouth its crude, humorless dialogue.
  72. This dreary spy drama is as flat and airless as the concrete bunker in which it unfolds.
  73. Like a ham-fisted high-concept public service announcement, directed with stagy deliberateness and written with tin-eared vernacular speechiness.
  74. For all its demureness, Restless captures some of the excitement of youthful romance in which the partners aren't just separate individuals but the products of divergent cultures.
  75. So campy it reflexively sends an elbow to its own ribs.
  76. Garret is played by Kevin Costner, who should avoid all future roles that call for overalls and goggles and who this time crosses the line from teasingly laconic to stodgy.
  77. The kind of movie that is a must to avoid on a bad day. Even on a good one, it could send you into a funk.
  78. This is the costliest, most logistically complex feature of the filmmaker's career, and it appears that the effort to wrangle so many beasts, from elephants to movie stars and money men, along with the headaches that come with sweeping period films, got the better of him.
  79. Plympton fails to develop compelling personalities for any of his characters.
  80. Directed by the young actor Adam Goldberg, best known for playing the Jewish soldier who falls to a Nazi knife in "Saving Private Ryan," I Love Your Work is an attempt to say something interesting about modern celebrity.
  81. Some of it, though, is absurdly comic, like the shot of a guy on a Segway that exists for no reason other than that someone here thought the movie could use a small laugh right then. It did. It could use more.
  82. A certain curiosity value arises out of Mr. Phillippe’s coincidental occupation here as a professional actor and a director.
  83. Tammy’s journey, as they like to say in movieland, is into self-worth. Yet the far more interesting trip here, at least until her self-actualization kicks in, is through an America of lousy jobs, tyrannical bosses, nickel-and-diming poverty and real-looking women.
  84. Whether on a Middle Eastern battlefield or the streets of New York, characters converse in stilted, expository mouthfuls that smother emotion.
  85. The computer-generated world is visually rich, but short on the droll humor that makes good children's films bearable for adults.
  86. Another piece of propaganda for the Bieber proletariat.
  87. The film is not a beautiful object or a memorable cultural one, and yet it charms, however awkwardly. Ms. Swank’s ardent sincerity and naked emotionalism dovetail nicely with Mr. LaGravenese’s melodramatic excesses.
  88. It's big, colorful, slightly vulgar, occasionally boring and full of talent not always used to its limits.
    • 39 Metascore
    • 20 Critic Score
    The principal characters can be reduced to a handful of tics, and the entire story line is immaculately devoid of incidental detail. It's like sitting in a padded cell for about 90 minutes.
  89. The tone ranges from wounded to disgusted, but a movie positing this deep a rot in the system needs to be more measured and better made to take hold.
  90. In Fat Albert, that trademark is resurrected to depressingly diminished ends.
  91. A Rubik’s Cube of shifting sexual orientation and elaborate sex fantasies, “Sloppy Seconds” gathers all the accouterments of soft pornography -- cheesy music, low-rent acting and attractively framed genitals -- into a plot of stunning imbecility.
  92. The Maid’s Room has much to recommend, including the versatile Mr. Camp (“Tamara Drewe,” “Compliance”) in a Machiavellian role. But it doesn’t marshal its twists toward a convincing or satisfying conclusion.
  93. Loads of fun. It has a jamming B-picture buzz -- the kind of swift filmmaking and high spirits that have been missing from movies for a while.
  94. First-time screenwriters Jeff Wadlow and Beau Bauman prove more adept at staging mind games than creating chills and thrills for the audience.
  95. It’s inspired enough to draw attention to ways that it doesn’t realize its potential.
  96. Agreeable but flagrantly unoriginal.
  97. The movie's amoral momentum is fatally slowed by an acronym-heavy script and flimsy characterizations that offer fine actors -- including Rip Torn as Tom's contemptuous father and Naomie Harris as his missed opportunity -- little to play.
  98. Planes is for the most part content to imitate rather than innovate, presumably hoping to reap a respectable fraction of the box office numbers of “Cars” and “Cars 2,” which together made hundreds of millions of dollars (not to mention the ubiquitous product tie-ins).
  99. So busy building its symbolic frame that it forgets to develop its characters, or even to make them likable.

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