The New York Times' Scores

For 11,857 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 Secret Sunshine
Lowest review score: 0 The Price of Air
Score distribution:
11857 movie reviews
  1. Spike Lee has grabbed a tiger by the tail in his scabrously risky new comedy, Bamboozled. The wonder is how long he succeeds in hanging on.
  2. The writer and director, David Barker, discards the didactic tone of so much American independent filmmaking in favor of a character study that leads to no easy conclusions.
  3. New Guy isn't the first movie to get laughs from the bloodless milieu of contemporary corporate life. But it may be the first to offer a frightening glimpse of the actual blood pulsing beneath.
  4. Loud, frantic, ridiculously overproduced and featuring a preening performance by Val Kilmer as a supposedly brilliant master of disguise, The Saint is sheer overkill.
  5. So awful it just might put an end to Hollywood's hypocritical infatuation with men in drag as symbols of its own supposedly liberated sexual attitudes.
  6. Obtuse, prettily decorative comedy. Characters burst gaily into song when, as often happens, they don't have anything better to do.
  7. What links these three stories besides their African settings is the calm, majestic presence of Queen Latifah, who introduces each one. The rapper, singer, actress and television personality towers over the movie, a stern but benign fortress of maternal common sense and wisdom.
  8. Whether or not you wince, this meticulously acted movie, which won Ms. Soloway a directing award at the Sundance Film Festival, paints an accurate picture of how a segment of youngish, educated, affluent, white Americans converse. It is anything but inspiring.
  9. Skiptrace settles for a warmed-over plot, tedious fight sequences and humor that’s heavy on crotch jokes and pratfalls.
  10. As if to personify the movie’s whiplash-inducing split between gloss and grit, the singer Erykah Badu appears as a prostitute — and also contributes a duet with Nas, one of the executive producers, to the soundtrack.
  11. Aiming for a moody portrait of psychological distress, Mark Jackson directs with a sluggish pace, an abstract style and a dismal aesthetic that rebuff involvement.
  12. Quirky goes a surprisingly long way before stalling out in Don McKay, an oddball comedy with the knowing, festering heart of a neo-noir.
  13. Some viewers may enjoy Give Me Your Hand simply as an excuse to gaze at the Carril brothers.
  14. If you can resist the urge to run for the exit, you may leave the theater feeling a lot more hopeful than when you went in.
  15. A sweeping but disorganized and sometimes monotonous exploration.
  16. It’s a cornball odd-couple comedy: Prim older woman meets a brassy young gay man. Still, it’s extraordinary just watching the peerless Ms. Rowlands wring the most out of the repartee in this adaptation of a play by Richard Alfieri.
  17. Many little touches in the film reflect the offbeat hand of Ms. Delpy. But she sells herself short by not giving the mother-son conflict a bit of a sharper edge beyond Lolo’s awfulness.
  18. A lackadaisical dive into backwoods barminess and masculine neuroses, this low-budget paean to indoor plumbing and rampant facial hair doesn't unfold so much as unravel.
  19. Asif Kapadia, the director (whose film “Amy” won an Oscar for best documentary), has a fine eye for splendor, as does Gokhan Tiryaki, his cinematographer. Mr. Kapadia’s sense of pacing isn’t as acute.
  20. A curiously thrilling and often hilarious experience.
  21. To attempt a culinary metaphor, Ms. van der Oest manages a yolky, runny sitcom omelet rather than the airy soufflé of farce.
  22. A refreshingly mean-spirited gothic real estate comedy.
  23. Without Ms. Kidman's brilliantly nuanced performance, Birth might feel arch, chilly and a little sadistic, but she gives herself so completely to the role that the film becomes both spellbinding and heartbreaking, a delicate chamber piece with the large, troubled heart of an opera.
  24. The director's attention to details of character and locale makes for a precise evocation of a New York seldom seen in feature films.
  25. In casting about for new sources of fear, Marebito achieves its own level of mediocrity.
  26. It’s strictly comfort food, 99 percent predictable, though the 1 percent that isn’t — you’ll know it when you see it — is deftly executed.
  27. There are new tweeners every year. To them, the characters and plot devices in this perfectly competent film might well seem fresh.
  28. Nominally a story about sex, lies and faithfulness, Last Night is more truly a cautionary tale about mousetrap narratives.
  29. Even as Mr. Gilliam assails the tedium and pointlessness of Qohen’s existence, The Zero Theorem succumbs to those forces, spinning its wheels and repeating its jokes in a manic frenzy that is never as funny or as mind-blowing as it wants to be.
  30. The chief pleasures of this mild-mannered dud lie in watching two resourceful comic actors go through their paces like the pros they are.

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