The New York Times' Scores

For 12,834 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 Mission to Lars
Lowest review score: 0 The Boy in the Striped Pajamas
Score distribution:
12834 movie reviews
  1. A movie so lifeless and drained of genuine joie de vivre it makes you long for the largely fictional earlier film.
  2. Vanity Fair has a deeper conceptual confusion. In mixing satire and romance, the movie proves once again that the two are about as compatible as lemon juice and heavy cream.
  3. A comedy so lazily hip and so laid back that it often seems to be asleep.
  4. By the time it reaches a weak, ambiguous conclusion, the movie has gone everywhere and nowhere, much like its psychotic main character, Bob Maconel (Christian Slater).
  5. Has a buoyancy and optimism that trump the predictability of its story.
  6. The deeper Ricky plunges into allegory, the shakier its grasp of the material.
  7. Mr. Harris's depiction of a saintly, soft-spoken, bow-tie-wearing middle-school teacher lends the movie a moral weight it probably couldn't have summoned had another actor played the role.
  8. Little more than a showcase for Mr. Quint - whose acting is almost as toneless as his playing is sublime - this trite, sunny drama pins lengthy musical interludes onto the flimsiest of narratives and hopes for the best.
  9. At times the groan and scream of collapsing metal sounds so authentic you might mistake Jackson’s heavy breathing for your own.
  10. Slick production values can’t disguise the lack of imagination.
  11. Bad Boys is a suspenseful movie, but it's also an extremely brutal one. It begins with someone's brains spattered on a wall, and ends with a particularly bloody battle. In between, there's a lot more of the same.
  12. A sequel that, until a late, lamentably foolish turn, balances blockbuster bombast with human-scale drama, child-friendly comedy and gushers of tears.
  13. Some of this recalls Stephen Chow’s “Journey to the West,” minus the brilliance.
  14. The human landscape of Palindromes is a vista of grotesqueness, dishonesty and creepiness. These are qualities Mr. Solondz has explored before, but this time he fails to make them interesting, partly because he lets himself and the audience off the hook.
  15. The kind of exercise in semi-autobiographical reflection that is almost impossible to carry off without its seeming self-absorbed.
  16. Infinitely less than the sum of its parts, Antonino D'Ambrosio's Let Fury Have the Hour crams 50 thoughtful artists into a disappointingly muddled film.
  17. Had it had the concision and symmetry of a classic French farce, Après Vous could have been an irresistible laugh machine.
  18. Mel Gibson's Hamlet is strong, intelligent and safely beyond ridicule.... He is by far the best part of Mr. Zeffirelli's sometimes slick but always lucid and beautifully cinematic version of the play.
  19. Silly, featherweight comedy.
  20. A movie like We Are Marshall stands or falls on its ability to make you feel the pain and loss of individuals in a place where community pride and football are one and the same. As the film, directed by McG (the "Charlie's Angels" movies) from a wooden screenplay by Jamie Linden, follows a handful of Huntington residents during the months after the accident, not one of them comes fully to life.
  21. Gets lost in a fog of indecision and compromise.
  22. Imagine spending an afternoon watching a bunch of vagrants putter around on an abandoned city lot, and you've pretty much nailed the viewing experience of Earthwork, a painfully dull account of a year in the life of the Kansas crop artist Stan Herd.
  23. Even political foes agree here on today's parlous state of disagreement, leaving you keen to vote but feeling a little defeated already.
  24. Or maybe not: Committing completely to Carl’s wobbly perceptions, the filmmakers mire us in a hackneyed swamp of narrative uncertainty.
  25. A strong filmmaking voice was clearly not called for in an entertainment that has been carefully calibrated for maximum blandness. Mr. Apted is aboard to keep the franchise sailing along or at least afloat, which he does.
  26. The decision to focus on the series’s comic relief has resulted in the loosest and perhaps funniest film of the brand.
  27. Stylish and witty though it is, The Hudsucker Proxy has its problems, even for Coen fans. But throughout, there are wonderfully rich touches.
  28. The sense of predestination hangs heavily over the movie, but not a sense of life.
  29. It helps that Ms. Lawrence, like all great stars, can slip into a role as if sliding into another skin, unburdened by hesitation or self-doubt. Craft and charm are part of what she brings to this role, as well as a serviceable accent, but it’s her absolute ease and certainty that carry you through Red Sparrow.
  30. Enemy at the Gates has its deficiencies, but the first-rate cast is not among them.

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