The New York Times' Scores

For 11,406 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 Affliction
Lowest review score: 0 Hemingway's Garden of Eden
Score distribution:
11406 movie reviews
  1. Faced an insoluble problem: how do you make a boundary-shattering gross-out farce about the porn business that isn't itself pornographic? Having the actors wear silly costumes embellished with sex toys just won't do the trick.
  2. This movie, without being particularly good, is nonetheless far less hysterical than "Da Vinci."
  3. What starts eerie becomes strictly cartoonish.
  4. Softer, louder and cleaner than the 1974 version, the new film sentimentalizes the prisoners and the game, filing down their sharpest edges so that winning becomes a matter of triumph rather than resistance.
  5. A charmingly sentimental but ultimately pointless hommage to the sci-fi classics of yesteryear, Alien Trespass proves only that while styles and technology have moved on, the affection for corn is everlasting.
  6. Her (Ms. Scherfig) eccentric eye and offbeat rhythm sustain One Day through its stretches of banality and mitigate some of its flaws.
  7. Angel of Evil is bloody, yes, but loaded with generic action sequences, shouting matches and blustery sentiment. To borrow Robert Evans's famous quotation about "The Godfather," you can smell the spaghetti, but less sauce might have helped.
  8. A most unfortunate film that combines standard documentary techniques, including talking-head interviews, with some maladroit dramatizations from Aury's life and her novel.
  9. Mr. Borden, an acclaimed Canadian stage actor and playwright, turns in a slyly entertaining performance. But the relationship between Lake and Melvyn feels a bit more one-sided than perhaps was intended.
  10. The film’s initial naturalism is warped by overheated film technique and a dead-ending screenplay.
  11. To make a film in 2005 that asks audiences to sympathize with the plight of a band of terrorists is an intellectually audacious gesture.
  12. If American Gun avoids the most obvious kinds of sensationalism, it has the flaw common to many editorial broadsides of overstuffing its episodes with melodrama and symbolism.
  13. The major miscalculation in Wonderful World is the presence of a dream figure, known as the Man (Philip Baker Hall)...he throws this delicate, intelligent film, which at its best suggests a muted hybrid of “The Visitor” and “It’s a Wonderful Life,” off balance.
  14. The best thing about Small, Beautifully Moving Parts is its admission that a positive pregnancy test is not always cause for giddy celebration; the worst thing is that, even at a lean 73 minutes, this flimsy road movie feels at least 43 minutes too long.
  15. If the concept is ingenious, its execution is erratic.
  16. Like Warwick himself, the movie begins to run amok after a taut and tantalizing first act. Not even Mr. Hyde Pierce's best efforts can make sense of a character who by the end of the film seems to be a completely different person with the same name.
  17. The story is as old as Mickey Rooney but its appeal is eternal, and Step Up cleaves to the template with significantly more rigor than originality. For a director who is also a choreographer, Anne Fletcher is strangely reluctant to step out of line.
    • 48 Metascore
    • 50 Critic Score
    Mr. Jamal’s direction ranges from clumsy to competent, and the film’s overwhelming desire to be loved blunts any edge it might have had.
  18. A hopeless jumble of visual and linguistic styles.
  19. Mr. Weitz lines up a target placed at the explosive intersection of class, race, region and every other source of societal anguish, and then does not so much miss as aim in another direction — or several — letting fly a volley of darts that land as lightly as badminton birdies.
  20. If the 20-odd seconds of blank screen squatting pointlessly amid the opening credits aren't enough warning that you're in for some seriously sluggish storytelling, then the adoption of a snail as one of the central motifs should drive the point home.
  21. Had it taken a more hard-headed approach, 3 Needles, might have been to the AIDS epidemic what "Traffic" was to the drug trade.
  22. In trying to keep track of everybody while providing enough melodrama to sustain an atmosphere of controlled terror, Paradise Road stumbles all over itself and never really finds its center.
  23. Perhaps not since "Steel Magnolias" has Hollywood turned out a movie so resolutely for and about women.
  24. A lively, well-constructed film with a large and appealing cast.
  25. Tense and tiresome.
  26. Doesn't have many fresh ideas to contribute to the genre, though it is reasonably good-natured and delivers a handful of solid laughs.
  27. The new film has at least some of its predecessor's appeal. But it can't match the first film's novelty, or recapture the excitement of watching a great comic character like Axel Foley as he first came to life.
  28. It is perverse that a movie concerned with objectification would reduce its hero to an object.
  29. An amiable romantic comedy.
  30. An intermittently interesting but fatally clichéd comedy of personal and professional suicide.
  31. The whole enterprise rests on Ms. Gilsig, who plays Anna with a subtlety rarely required of her crazypants girlfriend on “Nip/Tuck” or her clingy spouse on “Glee.”
  32. [A] crisp if feather-light documentary.
  33. The film has an effective synthesizer score by George Holdcroft. It also offers some funny bits (a hokey prechampionship workout montage, a ridiculous gunfight), but not enough. And for such a film, its bargain-basement production values and lack of wit unexpectedly prove a greater liability than an asset.
  34. 100 percent goo.
  35. Dignified to a fault and crammed with historical worthies (like a pre-deportation Emma Goldman), this dry tour of union hall strife and kitchen table sentiment wears its sympathies proudly.
  36. The approach is cheerfully candid and the humor often sly... Yet this midlife confessional could have reached beyond the maternal cravings of highly educated, urban-dwelling singletons had it plumbed people’s heads as thoroughly as Ms. Davenport’s birth canal.
  37. It's disconcerting to watch Sweetness, tiny and light-skinned, assaulting Latonya, large and dark-skinned, partly because it bluntly if inconclusively underscores a crucial color divide that runs through this film like a throbbing vein.
  38. Acute emotional honesty and a frustrating narrative coyness coincide in Morning.
  39. Simon Dennis’s photography is glossy and crisp, and a lengthy foot chase — making excellent use of the National Gallery — is inventively choreographed. And if the villains are little more than fireplugs in balaclavas, the violence they provoke is satisfyingly vicious.
  40. Miss Duvall is superb - genteely ladylike one minute, a woman of volcanic passions the next.
  41. A tedious World War II epic that slogs across the screen like a forced march in quicksand.
  42. Ms. Lemmons has a tough time finding her tone. From scene to scene, the actors are good and then less so, while the direction wavers from assured to unsteady.
  43. Dour and bleak, yet this melodrama -- which doesn't amount to much of anything -- may stick with you.
    • 48 Metascore
    • 40 Critic Score
    An 87-minute documentary on the life, work and thought of George Condo, a garrulous painter with a mischievous sense of humor and an eccentric, quasi-mystical view of art and the world it inhabits.
  44. A disturbing, somewhat repellent portrait of a depressed middle-class woman's struggle to live comfortably in the world.
  45. This season's answer to "Dr. Seuss' How the Grinch Stole Christmas," it's an overstuffed grab bag in which lumps of coal are glued together with melted candy.
  46. The dialogue may be dire, but the dancing is delightful.
  47. The director, Burr Steers, whose other credits include “Igby Goes Down” and stints directing TV shows, keeps people and things moving fast enough so that you don’t have time to worry about the details, like the inanity of the story.
  48. The gay, independent comedy Adam & Steve is as crude and nonsensical as any number of B-list studio equivalents, with the added disadvantages of a low budget and shaky direction by Craig Chester, who wrote and also stars.
  49. As long as it is fixated on gadgetry, FX2 is reasonably entertaining. But when the movie focuses on plot and character, it turns quite dotty in an amiable way.
  50. Pet
    The pace is patient, the acting solid and the special effects emphasize craft over flash as the characters rejigger our perceptions from one scene to the next.
  51. Despite the grumpy, flatulent behavior the script demands of him, Mr. Falk rises above the treacly shenanigans.
  52. Buffy the Vampire Slayer, a slight, good-humored film that's a lot more painless than might have been expected. Ms. Swanson's funny, deadpan delivery holds the story together reasonably well, as does the state-of-the-art Val-speak that constitutes most of Buffy's dialogue.
  53. Ms. Bullock, who excels at playing spunky, is as appealing as usual, but the role proves as awkward as those heels.
  54. Behind the clunky machinery is a lyrical meditation on life, death, heroism, regret and forgiveness written in a florid style that might be described as Tennessee Williams on testosterone.
    • 48 Metascore
    • 60 Critic Score
    Like its predecessor, “National Treasure,” this sequel amounts to a bunch of crossword puzzle answers stitched together with explosions, chases and displays of intuitive reasoning that the “Twin Peaks” F.B.I. agent Dale Cooper would reject as too right-brained.
  55. Through it all Mr. Allman, who played the skeevy Tommy on "True Blood," is a pleasant presence but blank. And Don's crisis of faith, which should be the movie's core and engine, is never really convincing. It's spelled out but dramatically inert, lost among the yuks of the Reed kookiness.
  56. To say it feels reasonably authentic doesn’t mean it’s very good. Mr. Kelly, who directed the well-received “I Am Michael,” starring Mr. Franco as a Christian pastor with a gay past, clearly knows the territory, but he barely skims the surface.
  57. xXx
    Action fans will watch their adrenaline levels redline, and those not at ease with this climax-after-climax style will white knuckle their way through to the end.
  58. The noisome action sequences of The Mummy Returns are preferable to the quiet times, when the cast is limited to spouting dialogue that is a banal combination of exposition and homily.
  59. Its uplifting message about teamwork and caring wouldn't hurt a fly. You might even say, the movie is good for you.
  60. Reasonably good fun, even if, in the end, it's not really very interesting.
  61. The hokey solemnity of A Love Song for Bobby Long suggests "The Mundane Secrets of the Ya-Ya Brotherhood" or "The Notebook Goes to the Big Easy." The movie is another example of Hollywood's going soft and squishy when it goes South.
  62. The threat of global warming to their habitat is spelled out simply in the narration, delivered by Meryl Streep. Otherwise, To the Arctic is a little dry.
  63. Yogawoman, with narration enunciated by the actress and yogini Annette Bening, begins with an intriguing premise: yoga, historically a practice dominated by men in India, now occupies a mat-carrying slot on women's schedules the world over. That idea remains anthemic more than analyzed, and doing yoga proves more appealing than watching a film promote it.
  64. The finale, in which blood rivalries are redressed in an absurdly literal manner, fatally strains credulity.
  65. Dipping no more than a toenail in the philosophical waters surrounding personhood, the movie is at once ideologically vague and maddeningly self-serious.
  66. It's just as awesome as the tv show only bigger and prettier.
  67. For all the earth shaking that goes on, “Percy Jackson” is agreeably tame and unthreatening.
    • 47 Metascore
    • 60 Critic Score
    A lot of the fun in The Catechism Cataclysm, a horror-comic head trip from the writer-director Todd Rohal ("The Guatemalan Handshake"), comes in the form of silly, strange line deliveries: nonsense songs in strained falsetto, crisply over-articulated cuss words, syllables distended into schoolyard taunts.
  68. Maddeningly muddled and frustratingly counterintuitive... the story shuttles between Hong Kong and mainland China without a noticeable gain in logic or reduction in decibels.
  69. The movie’s refusal to abandon commercial formulas and examine its characters’ inner lives suggests that the director’s years inside the Hollywood bubble may have prevented him from recognizing the degree to which independent films and television are already overrun with deeper, more sensitive explorations of addiction and recovery.
  70. Stuffed with plummy English accents and the most inauthentic classroom scenes since those of "Billy Madison," Life, Translated has a childlike innocence that seems targeted toward a preteenage audience.
  71. Leaving no cliché unturned, Coffee Date provides cheesy music, chats about "gaydar" and the obligatory are-you-looking-at-mine? urinal scene.
  72. In images veering from literal to cryptic to surreal, the movie presents a society where the weak are exploited and the vulnerable unprotected.
  73. Though Weil remains fascinating, Ms. Haslett's film, even when it uses more traditional documentary techniques, mostly isn't.
  74. The film tries, unsuccessfully, to walk the same eerie, atmospheric trail as “The Village” by M. Night Shyamalan, or any number of Stephen King works.
  75. Though rich in period detail, the movie grows tiresome with solemn, protracted soap-operatic encounters laden with glowering stares and tearful outbursts.
  76. Mr. Carrey is such an attention hog that most actresses have a hard time holding on to their corner of the screen when he's onboard, especially in broader comedies. But Ms. Leoni never cedes her ground. Both performers exude such acute neediness - there's a touch of Jerry Lewis and Lucille Ball in their mutual frenzy - that not to love them even a little would seem cruel.
  77. If Bella (the title doesn’t make sense until the last scene) is a mediocre cup of mush, the response to it suggests how desperate some people are for an urban fairy tale with a happy ending, no matter how ludicrous.
  78. The writer and director, Mark Goffman, sticks to a no-frills style that makes the film feel longer than its 1 hour 24 minutes.
  79. Neither funny nor sexy, nor leavened by the wistful laissez-faire wisdom of the typical sophisticated Gallic comedy, it is less than a trifle.
  80. Accepted will make for a passable alternative to sold-out shows of "Snakes on a Plane," but it's a disappointing debut for the director Steve Pink.
  81. Starts with a great idea, but the movie's potential drops faster than the tech stocks on the Nasdaq.
  82. Mr. Kitano directed, edited and wrote Brother -- and his style of close-to-the-vest brutality travels extremely well.
  83. A grindingly conventional comedy that insists on tying up its subplots in pretty ribbons and bows.
  84. (Miike's) work is fun to look at but emotionally unengaging, perhaps because he can't summon enough belief in his pulp-fiction characters to make them come alive.
  85. Few people other than future airline passengers should be subjected to such misery.
  86. A likable rites-of-passage memory piece doused in period nostalgia, including the prominent use of vintage Movietone newsreels to mark the events of World War II.
  87. Imagine "Last Tango in Paris" remade as a wan, low-budget romantic comedy.
  88. There is always something inherently interesting about the combination of wealth and evil, and even more intriguing about people who claim to have seen a monster's humanity.
  89. In its way, a triumph of globalization, a polished, Western-style entertainment about a distinctly non-Western subject. Its message, like the Abyssinian king's, is finally one of reconciliation: we're not as different as we seem.
  90. Ms. Weinstock does accomplish something quite tricky, though. She does an impressive job of capturing the brave messiness of single life, or at least of 20-something dating, and her sex scenes have a rare feel of authenticity.
  91. Fatal culture clash, imperialist entitlement, forbidden passion between master and servant: the ingredients of the Indian director Santosh Sivan’s period piece Before the Rains may be awfully familiar, but the film lends them the force of tragedy.
  92. The distinguished cinematographer Hiro Narita (“Never Cry Wolf”) captures the hard San Francisco light and the burnished glow of the beautifully painted cars. Unfortunately, this care is lavished on an overwrought, predictable story of an angry ethnic father.
  93. Offered only hints of life away from the barre or of Sy’s relationship with his coolly poised benefactress, viewers will see either a very fortunate young man or a beautiful protégé, dancing as fast as he can to please everyone but himself.
  94. Hotel de Love, the directing and screenwriting debut of Craig Rosenberg, is like a Valentine's Day box of heart-shaped chocolates that all have the same too-sweet cherry fillings.
  95. A Good Year is a three-P movie: pleasant, pretty and predictable. One might add piddling.
  96. Sincere and sinister and inevitably ambitious, a serious work that insists on its own seriousness even when it edges toward the preposterous.

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