The New York Times' Scores

For 11,863 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 127 Hours
Lowest review score: 0 Dirty Love
Score distribution:
11863 movie reviews
  1. Exodus is ludicrous only by accident, which isn’t much fun and is the surest sign of what we might call a New Testament sensibility at work. But the movie isn’t successfully serious, either... To be fair, there is some good stuff here, too. Mr. Scott is a sinewy storyteller and a connoisseur of big effects.
  2. We Are the Giant builds up quite a rhetorical head of steam, but it doesn’t try to analyze the conflicts it observes or to fill in the history, except in the broadest sense of placing these uprisings on a list of rebellions that stretch back through millenniums.
  3. Mr. Carpenter has directed the film with B-movie bluntness, but with none of the requisite snap. And his screenplay (written under the pseudonym Frank Armitage) makes the principals sound even more tongue-tied than they have to. [4 Nov 1988, p.C8]
    • The New York Times
  4. An enthralling documentary.
  5. The territory where the circus sideshow meets the avant-garde...visually arresting, dramatically blurry.
  6. The film's flamboyant portrayals of characters you love to hate have a malicious comic edge. If ever there were a movie to gladden the hearts of misanthropes, this is it.
  7. Undercooked, although it feels enough like a comedy for you to swallow it if you have to.
  8. A monumental treat as well as a crafty assemblage of mythologies.
  9. May be pure hokum, but at least it knows how to spin a yarn.
  10. A wan, wistful Generation Y romance.
  11. Viewed simply as a horror movie, A Horrible Way to Die is diverting; viewed as commentary on our willingness to tune out evil for the sake of emotional connection, it's devastating.
  12. Ultimately his story draws more energy from class than from criminality: awash in sludgy browns and rotting greens - the colors of poverty and decomposition - this unpredictable oddity is a little bonkers but a lot original.
  13. Fast and mostly fun, the movie also seems compulsively too much, throwing everything it can think of at you, lest it fail to entertain.
  14. This distillation of Philip Shabecoff’s book doesn’t really capture the urgency and militancy promised in the title.
  15. This gentle comedy, while entirely unmemorable, releases a genuine warmth that deflects harsh judgment. It doesn’t, however, excuse characters that are little more than props for embarrassing fashion or delivery systems for dated slang.
  16. This small, observant movie, directed and written by Kerem Sanga, is the better for not going in predictable directions. A story that you half-expect to turn into a melodrama stays true to the sensibilities of its immature, painfully sincere characters, who are faced with life-changing decisions.
  17. Everyone involved in "Never Say Never" is working overtime to prove that he is, as one of them puts it, "just a regular kid who had a dream," while everything about the movie screams the opposite.
  18. In its sweet, lackadaisical way, Michel Gondry’s Be Kind Rewind illuminates the pleasures and paradoxes of movie love.
  19. Only a few scenes fail to draw laughs in a movie that’s unexpectedly smart and consistently amusing.
  20. Adapted from Hans Fallada’s 1947 novel (and based on a true story), Alone in Berlin is dour and flavorless.
  21. A quick-sketch routine stretched - amusingly, absurdly, thinly - to feature length.
  22. Hook is overwhelmed by a screenplay heavy with complicated exposition, by what are, in effect, big busy nonsinging, nondancing production numbers and some contemporary cant about rearing children and the high price paid for success.
  23. 300
    Another movie -- Matt Stone and Trey Parker's "Team America," whose wooden puppets were more compelling actors than most of the cast of 300 -- calculated the cost [of freedom] at $1.05. I would happily pay a nickel less, in quarters or arcade tokens, for a vigorous 10-minute session with the video game that 300 aspires to become.
  24. Modest and diverting, rough and bland, with some good (if not quite Bette Davis caliber) actors and so-so special effects.
  25. For much of the movie, the kinetic furor of the game sequences helps camouflage the weaknesses of a screenplay that is a mechanically contrived series of power struggles.
  26. Poverty, capable of stunting lives, can also blight films. A case in point is the earnest and heartfelt but undernourished and plodding Off the Hook.
  27. Mr. Gooding’s performance and his complex charisma are fascinating to watch throughout.
  28. The Mother of Tears is silly, awkward, vulgar, outlandish, hysterical, inventive, revolting, flamboyant, titillating, ridiculous, mischievous, uproarious, cheap, priceless, tasteless and sublime.
    • 52 Metascore
    • 50 Critic Score
    An unwieldy mix of political satire and lavish period soap opera.
  29. The film feels authentic only during the scenes between Valentín and his selfish, angry father.

Top Trailers