The New York Times' Scores

For 12,236 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 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Sugar
Lowest review score: 0 King's Ransom
Score distribution:
12236 movie reviews
  1. Well-meaning and hopelessly bland, You'll Get Over It, instantly drops into the tone of didactic realism that rules most television fiction, drawing easy moral lessons from a scrubbed-up simulacrum of everyday, middle-class life.
  2. The belated sentimentality of the movie is as thudding as its fire-and-brimstone moralism; they're really two sides of the same counterfeit coin.
  3. Think of it as a kind of “Twilight Zone 2007” in which the paranoia endemic to an industry that runs on illusion, hype and extravagant grandiosity comes home to roost.
  4. It feels mostly authentic until a contrived ending that leaves a saccharine taste.
  5. Essentially and very effectively a rollicking smash-and-crash chase movie that happens to be surprisingly well acted.
  6. Hit So Hard is the touching story of how and why Ms. Schemel ended up in her own private hell and how and why she made her way out again into the world of sunshine, sobriety and puppy dogs.
  7. Revelations unfold predictably, but the subplots cohere and the assured pacing offers a stark contrast with the often disjointed tempos of Mr. Perry’s mosaics.
  8. After 90 minutes of My Blueberry Nights, which pass pleasantly enough, with swirly, mood-saturated colors; lovely faces; and nice music, you may feel a bit logy yourself -- filled up, sugar-addled, but not really satisfied.
  9. The movie’s principal saving grace is Ms. Winslet’s convincing portrayal of Adele, a despairing woman of low self-esteem just a twitch away from a nervous breakdown. In almost every other respect, this overbaked romantic hokum is preposterous.
  10. The appealing Mr. Corden manages the not insignificant task of maintaining interest in a story whose climax has already been passed around on YouTube.
  11. Appropriately cynical, pleasantly camp (Coco has the best hair -- a teased, sprayed flip) and just fresh enough to be funny more often than not.
  12. The tale, ripped from the headlines, is stirring, even if the repeated rally scenes and aerial views of the region grow stale.
  13. The Interview is pretty much what everyone thought it would be before all the trouble started: a goofy, strenuously naughty, hit-and-miss farce, propelled not by any particular political ideas but by the usual spectacle of male sexual, emotional and existential confusion.
  14. A nicely cast, respectable remake.
  15. The film is a compulsively detailed swirl of moods and impressions, intent on capturing the contradictions of the man and his times. Observations of Saint Laurent at work and in love give way to panoramic, intricate surveys of the world of commerce and culture in which he suffered and flourished.
  16. Suffused with a glow of apple-cheeked nostalgia that often clings to baseball movies. The movie may be set in the present, but its likable clean-cut twins exude more than a whiff of gee-whiz 1950s innocence.
  17. Denis Côté’s Boris Without Beatrice appears to have something to say about the hubris of the modern business tycoon, but it never coalesces into more than a self-amused goof.
  18. Unfortunately, Linsanity, following the conventions of the sports bio genre, ends at its peak, with only a brief nod to these events. Lin raised his game’s possibilities; you just wish that Mr. Leong had raised his.
  19. There’s not much new under the moon here, which makes what the writer and director Richard LaGravenese does with the story all the more notable.
  20. While I Am Secretly an Important Man skims the surface of Mr. Bernstein's life, it's a surface with more than enough texture to keep you interested.
  21. There’s nothing sophisticated or groundbreaking here, but the movie is a moderately good entry in the bro-grows-up genre.
  22. As subtle as its title, Cockneys vs. Zombies is mildly funny and easily likable.
  23. Can a feature-length movie be built on minutiae like jammed copying machines, unsent business letters and orientation programs for new employees? This innocuous wisp of a film, as weighty as a scrap of fax paper caught in an updraft, suggests that the answer is no.
  24. (Garvy) has helped advance our understanding of a difficult and exhilarating time.
  25. There is enough discomfort on display to reinforce the cynical adage that sex is God's joke.
  26. Entirely too well-behaved.
  27. Pitting good against evil with striking intelligence and a near-operatic commitment to extreme suffering, Ms. Gebbe neither mocks nor celebrates Tore’s love for his God. Neither does she give any hint that it’s reciprocated.
  28. Mr. De Niro owns the movie from the moment he opens his mouth, and is staring into the camera and right at you.
  29. The saving graces of the film, written and directed by Chris Kennedy, are its performances, especially Mr. Roxburgh's portrayal of a floundering lost soul with little to show for an itinerant life, and Ms. Otto's ditsy, mercurial and ultimately touching country singer.
  30. The director Lee Toland Krieger is good with actors, especially in the expression of a low-key, unforced intimacy.

Top Trailers