The New York Times' Scores

For 12,809 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 King Kong
Lowest review score: 0 Grown Ups
Score distribution:
12809 movie reviews
  1. In the end, like a lot of genre movies, this one pulls from different inspirations, and so weighs in, by turns, as overly predictable and satisfyingly recognizable (part of genre cinema's one-two punch).
  2. Higher Learning culminates in facile violence instead of the assurance that this film maker, in trying to explain forces that oppress his characters, has really done his homework.
  3. A riveting piece of work full of unpleasant characters whom you're glad you've met but never want to see again.
  4. 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.
  5. 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).
  6. 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.
  7. The movie is bulky and inarticulate, leaving behind a trail of wreckage and incoherence.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. This weirdly engaging tale of banking and bad behavior makes 19th-century China look uncomfortably like 21st-century America.
  15. These characters are fully alive. But the movie attaches them to a conventional, not to say creaky, hip-meets-square drama.
  16. 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.
  17. Though Ms. Jovovich's performance dominates the film, she remains pedestrian and underwhelming.
    • The New York Times
  18. 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.
  19. 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.
  20. The material isn't organized in any formal way but works as a mosaic that has the feel of a jam session.
  21. 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.
  22. Like "I Am Sam," it is a film that tests your cynicism.
  23. 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.
  24. 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.
  25. Though it is a celebration of modesty, there is also quite a lot of vanity in The Secret Life of Walter Mitty.
  26. 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.
  27. A savvy exercise in inspirational feel-good cinema lightly seasoned with grit.
  28. 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.
  29. 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.
  30. A misfired, misguided would-be satire.

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