The New York Times' Scores

For 11,991 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 Lincoln
Lowest review score: 0 Dirty Love
Score distribution:
11991 movie reviews
  1. The director, Craig Saavedra, generates surprising warmth from the familiar tropes of the odd-couple road movie. Shooting mostly in the verdant sweep of California's wine country -- and with a superb supporting cast -- he allows Mr. Le Gros room to engage.
  2. An awkward blend of anti-Semitic atrocities and identity-swapping absurdity, the World War II drama My Best Enemy struggles to find a convincing tone.
  3. Wish I Was Here is so eager to please that you are never allowed to feel uncomfortable for more than a minute or two before a reassuringly stale joke rushes in to pat you on the head.
  4. This premise contains the seeds of an interesting economic and political allegory, but the ambitions of the filmmakers - lie in the direction of maximum noise and minimum sense.
  5. The movie is exuberant, strapping and obvious -- a problem drama suffering from a steroid overdose.
  6. As the movie jumps back and forth in time, it displays an impressive cut-and-paste agility, skillfully interweaving humor and drama without tipping over into farce or soap opera.
  7. A sturdy, well-made piece that never quite overcomes its structural flaws.
  8. Surprisingly . . . ept given that it is basically a dumb movie about smart people. This smooth but bland thriller may be the best we could expect from such a collaboration.
  9. The team that gave the world "Dumb and Dumber" returns with something feeble and feebler.
  10. A limp sci-fi comedy with fewer laughs than a meeting of Abductees Anonymous.
  11. Offering neither balance nor solutions (a segment on the overuse of medications like Ritalin is especially powerful, but especially in need of counterargument), The War on Kids questions what kind of citizens we are producing.
  12. A sad and engrossing look at a haunted landscape.
  13. While the movie has its heart in the right place, the first-time writer-director Rehana Mirza doesn't yet have the skills to shape the narrative into something moving or revealing.
  14. Offsetting its outlandish premise with believable performances, Rage (Rabia) delivers a heavy-handed metaphor for immigrant invisibility.
  15. That the movie remains consistently watchable is largely a tribute to Brian Hasenfus, a Needham, Mass., contractor making his acting debut as Phillip.
  16. At its best when merging shocks with social commentary, this halting compilation improves significantly as it nears the end of the alphabet.
  17. The movie’s best bits lose out to the requisite moral turnaround.
  18. The film is a thorough piece of reporting on the issues, characters and deeper cultural ramifications. But rather than present this impressive investigation as an objective reporter, Mr. Pamphilon makes the film, perhaps unnecessarily, a personal story.
  19. The more Chapman reveals, the less seems to be going on, and the more its quirkier developments... play like independent-film clichés.
  20. The journey, an exploration of the passion for soccer that evolves into a history of the ball (a sort of film version of the anthropologist John Fox’s 2012 book, “The Ball”), is somewhat illuminating, often indulgent and never wholly satisfying.
  21. Having a mild-mannered writer tell this story by sitting in a chair in front of some pretty art in a house museum and just talking seems lackadaisical, but Mr. Moss’s message is clear, shrewdly edited and peculiarly interesting.
  22. Holly is supposed to be out of Guy’s league, but neither of them is up to carrying scene after scene of weak sparring and punny flirting.
  23. If you’re a boy between, say, 8 and 12 and wired to the hilt on Coca-Cola, the shrill, exhausting “Gold” might be for you. But only if.
  24. In this shaggy-dog version the wolfman’s story is both gratuitously bloody and, finally, bloodless.
  25. Dear John carefully distills selected elements of human experience and reduces them to a sweet and digestible syrup. It may not be strong medicine, but it delivers an effective, pleasing dose of pure sentiment and vicarious heartache.
  26. In this film Mr. Coppola blurs dreams and everyday life and suggests that through visual and narrative experimentation he has begun the search for new ways of making meaning, new holy places for him and for us. He may not have found them yet, but, then, he’s just waking up.
  27. Paralyzes history and human drama with relentless hagiography.
  28. It is also unabashedly one-sided and is short on solutions, other than the usual "Call your Congressional representatives." But its message, despite the hyperbole, certainly warrants examination and discussion.
  29. Automatons is driven less by its hints of suicide bombers than by its rigorous adherence to a time when robots were played by inverted dustbins and battles were represented by dots converging on a crackling screen. This lack of sophistication is enormously endearing, leaving us with the comforting notion that the end of the world will look a lot like the beginning of television.
  30. The amateurish production values might be pardonable if the clichés -- the hard-core porn star with the soft heart, the therapist who needs to heal herself -- inside the poorly lighted, badly shot images weren’t so absurd and often insulting.
  31. 360
    There's no way to know what went wrong with 360 and whether it was this uninvolving and shallow from the start.
  32. Unfortunately, in waving the flag for more holistic, naturopathic treatments, the already meandering Doctored loses focus, touching on topics like alternative cancer treatments, autism and vaccination, and genetically modified produce. Mr. Sheehan seems to forget the primary documentarian directive: First, do no harm to your main argument.
  33. An early candidate for worst film of the year is Freedomland, an inept, lethally dull drama.
  34. The lead performances of Home Room go a long way toward camouflaging the severe flaws of this exceedingly earnest movie.
  35. For juvenile filmgoers and families in search of a more-than-twice-told tale with uplifting messages about the rewards of perseverance, the virtues of animals and acceptance of the handicapped, MVP will do.
  36. Culminates in a show-stopping action sequence set in midtown Manhattan, directed by Ms. Leder with crisp economy and furious energy.
  37. Though mildly amusing, Murphy's two characters in Meet Dave -- a wee captain and a humanoid spaceship -- neither tax nor stretch him.
  38. In this film, suspense and psychological horror have given way to superhuman strength and resilience...The one effectively handled scene is the last, which promises a sequel with a feminist twist.
  39. Malevolence will lead Halloween-inspired viewers into this dark place for some palpitations, but the thrills will come from sheer density of gruesome images, not from frightfully new ideas.
  40. Though this is by no means the grisliest or most witless film made from one of Mr. King's horrific fantasies, it can lay claim to being the most unpleasant. Why? Because when you strip away the suspenseful buildup to a King story, you're often left with mechanical moralizing and crude, sophomoric small talk. Needful Things has more of both than any film could ever need.
  41. While the film has an appealingly dreamy, summer-in-New-York look and a pleasantly languorous rhythm, it gives the actors very little to do and the audience almost nothing to care about.
  42. Recovery time is recommended after seeing Gardens of the Night, a harrowing, obliquely told story of kidnapping and forced child prostitution that conjures a world entirely populated by predators and prey.
  43. Faithful to the outline of the novel but emotionally and spiritually anemic, it slides into the void between art and entertainment, where well-intended would-be screen epics often land with a thud.
  44. Well acted, but it doesn't enrich its metaphor beyond giving an old story a sour contemporary resonance.
  45. Sometimes even a talented lineup produces unexceptional results.
  46. The movie is like spending an idle afternoon browsing, and not buying.
  47. Held back throughout by the self-conscious, overly explicit dialogue and the judgmental, moralistic undertone that throbs throughout.
  48. The story is a clever sitcomy contraption, the dialogue is pedestrian.
  49. You'll see better film on ponds.
  50. The sustained force of Mr. Dumont's vision of existence as a swirl of brute instincts may not be easy to absorb, but it marks him as a major filmmaker.
  51. A minimalist setup delivers maximum fright in Frozen, a nifty little chiller that balances its cold terrain with an unexpectedly warm heart.
    • 43 Metascore
    • 40 Critic Score
    Mr. Moore functions like a vast garden ornament. Pedantic, sluggish on the uptake, incapable of even swaggering, he's also clumsy at innuendo. If you enjoyed the early Bond films as much as I did, you'd better skip this one.
  52. The main problem with The Uninvited lies in its refusal to decide just what movie it wants to be a commercial for. It certainly doesn’t have much in common with "A Tale of Two Sisters," the creepy Korean horror film of which it is supposedly a remake.
  53. This movie incites curiosity tinged with confusion and irritation. It bristles with interesting ideas — about friendship and freakishness, honesty and anger — and intriguing characters, all of which may blossom in later episodes.
  54. Against the Sun is a groaningly tedious survival story that will at least leave you with a renewed commitment to wearing sunscreen.
  55. While those seeking interplanetary scenarios may want more details, fans of endurance stories will be pleased. Indeed, Passage to Mars has the effect of making a trip to another world appear almost secondary. The journey undertaken here seems nearly as frightful and fascinating.
  56. Mr. Defa and his cinematographer, Mike Gioulakis, are united in their disdain for information over mood: as the camera skitters spastically around its troubled schlub, the film becomes a muddy, minimalist moan of desperation.
  57. While the director, Peter Askin, employs an all-too-customary suspense arsenal (vertiginous stairway perspectives, foreboding thunderstorms, ominous headlights), Mr. King’s script offers a wealth of behavioral details.
  58. The cast members remain dedicated to their brooding roles as the script admirably reaches for emotions it only sometimes captures.
  59. Not for the faint of heart, the movie is unsettling and startlingly true to life. At least that’s how it seemed to me. To the minors I happened to be accompanying, it seemed to be reasonably good fun.
  60. With its lovely scenery and languid pacing, has a warmth and a naturalness that transcend its overheated material.
  61. That "The Keeper" was made by a novice is evident in the visible seams between the present-day narrative and the flashbacks; the whole thing plays like a loopy amalgam of stilted costume picture and after-school special.
  62. With its flashbacks, split-screen montages, decade-jumping soundtrack, sped-up action and frequent shifts of light and color, Wonderland feels like "Law & Order" on crack.
  63. Good Deeds honors goodness, which isn't at all a bad thing, and it's not without moments of genuine feeling. But by the film's end, after watching a seemingly infinite number of dour close-ups of sober self-evaluation, I felt bludgeoned by thesis-driven dialogue and noble intentions.
  64. It is too flat-footed and sloppy to explore the obvious parallels between then and now, and the movie is peppered with gratuitous star cameos that distract rather than enlighten. At least it means well.
  65. The movie is legitimately greasy, authentically nasty, with a good old-fashioned sense of laying waste to everything in sight -- including the shallow philosophizing and computer-generated fakery that have overrun the summer blockbuster.
  66. Mr. Duke’s filmmaking is functional at best, and the extreme shifts in emotional tone -- especially a late and disastrous swerve into tragedy -- are handled clumsily in Brian Bird’s script. Yet Not Easily Broken is not easily dismissed. For one thing, the cast is excellent, and for another, its intentions are serious and generous.
  67. In movie terms, Mr. Childers's story is too true to be good. Machine Gun Preacher, directed by Marc Forster and starring Gerard Butler, illustrates some of the ways that a terrific story can turn into a bad film despite the best intentions of everyone involved.
  68. The medium is more palatable than the saccharine message because Hopkins and Gooding know how to put on a show.
  69. The film feels too formulaic and too familiar to produce the transgressive thrills of early underground work.
  70. The movie is quiet, modest and sympathetic almost to a fault; its scenes of emotional discord, accompanied by a swooning, sniffling score, seem best suited to cable television. It's like a Lifetime movie about men.
  71. In the preposterous thriller The Forgotten, a pseudospiritual, mumbo-jumbo, science-fiction inflected mess, the director Joseph Ruben does not just fail to tap into Ms. Moore's talent; he barely gets her attention.
  72. Lush, lurid and completely besotted with itself, Eternal is one of those movies normally found slinking around the ether of late-night cable television.
  73. The other alumni, played by Malin Akerman, Adam Brody, Jeremy Strong and Rebecca Lawrence, are given such short shrift that they come across more as sarcastic commentators than as characters.
  74. Ms. Meester and Mr. Shatkin mesh beautifully, so much so that you might feel a little cheated at the end.
  75. The dark comedy (punctuated by the catchphrase “Toodle-oo”) doesn’t always come off, and the filmmaking is more off-kilter than necessary, with capricious camerawork and pacing.
  76. Conan the Barbarian is an extremely long, frequently incoherent, ineptly staged adventure-fantasy set in a prehistoric past.
  77. Ms. Moore is nicely lighted, but she too is poorly served by Mr. Freundlich's unfunny, unfocused screenplay, which basically stitches together a series of short scenes of four people whining in various combinations.
  78. Cheery, corny and perhaps calculatingly unoriginal, this is packaged entertainment so familiar it feels like a remake and so wholesome you could swear Sandra Dee starred in the 1959 original. Think of it as "No Sex and the City" for tweeners.
  79. A brief appearance by Joey Lauren Adams adds a welcome warmth to the standard therapist role, but otherwise all is bewilderment and repetition.
  80. The special effects are suitably catastrophic, though they aren't much more clever than the computer tricks that turn up in beer commercials these days.
  81. Despite the preachiness, however, they have still made a moderately enjoyable film, thanks to some engaging performances.
  82. More skin is shown in Spread than in most Hollywood movies. But despite twitches of insight into its characters and their world, Spread refuses go more than skin deep.
  83. You don’t need an animal-rights group’s boycott to give you permission to avoid A Dog’s Purpose. You can skip it just because it’s clumsily manipulative dreck.
  84. Supporting performances add comic spark to a movie that otherwise seems happily, deliberately second-rate.
  85. With a too-many-cooks screenplay credited to Ron Osborn, Jeff Reno, Kevin Wade and Bo Goldman, it's so long that every character regrettably wears out his or her welcome.
  86. This British thriller is a high-concept tease that slogs its way through a morass of barely differentiated characters and visuals before reaching an unsatisfying conclusion.
  87. Responses to religious films are bound to be personal, so at the risk of sounding patronizing, I'll say that my main reaction to The Grace Card was one of pleasant surprise at its competence.
  88. Only a couple of times do the stunts have that extra ingredient - wit - that makes this kind of thing amusing to watch.
  89. Like Tango, Sal and Eddie, Mr. Fuqua and Mr. Martin dig themselves into a pulpy predicament, and then find themselves unable to do anything but shoot their way out. The movie is wounded, but it’s also too tough to kill.
  90. M. Butterfly as idiosyncratic as Mr. Cronenberg's work always is, is sometimes too flat and ambiguous for its own good.
  91. The novel is at its most trenchantly funny when depicting the exhausting nature of virtual social life, and it’s in this area, too, that the movie gets its very few knowing laughs. But it’s plain, not much more than 15 minutes in, that without the story’s paranoid aspects you’re left with a conceptual framework that’s been lapped three times over.
  92. The mess we're in never looked so messy.
  93. The film is part psychological thriller, part horror movie, and the horror elements deliver some solid frights. Mr. Brody isn’t asked to stretch much, but he does his usual thing adroitly.
  94. The unfortunate thing is that children will probably waste their summers indoors watching "Recess" over and over again.
  95. Emerges as just one more formulaic action film as the title character bounces around the globe in a deadly treasure hunt.
  96. Mr. Marshall, is not much of a film director. Depending on the budget, his movies look either cheap (like this one) or studio slick ("Pretty Woman"), and tend to have the same flat, presentational visual style that's familiar from most sitcoms.
  97. The core of the movie is a satirical political thriller that juxtaposes dual points of view that could be described in cinematic terms as "It's a Wonderful Life" versus "Chinatown." The digressions should have been pared away.
  98. Someone deserves the grand prize for persuading David Bowie to participate in this minor drama .The movie is bland and ordinary.
  99. Nothing that Mr. Clayton does with the actors or with the camera comes close to catching the spirit of Fitzgerald's impatient brilliance. The film transforms "Gatsby" into a period love story that seems to take itself as solemnly as "Romeo and Juliet."

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