The New York Times' Scores

For 12,119 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 3.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Dance of Reality
Lowest review score: 0 Elite Squad
Score distribution:
12119 movie reviews
  1. If you tune out the dialogue, which is packed with raunch that has neither rhyme nor story reason, there are passable moments. The interludes of Nick shifting gears as he tries to beat the clock on another pizza run are nicely managed and say something about a character whose talent behind the wheel is a kind of grace note.
  2. The actors are so relaxed and personable that the film’s occasional glibness — and its over-reliance on coincidence to further the cross-pollinating narrative — is easy to let slide.
  3. The movie percolates enough that even when, at its climax, it shamelessly recycles a grisly punch line from 1987’s “RoboCop,” it’s kind of endearing, not least because Mr. Anderson and company make it work.
  4. A raucous, rambling comedy, offering some laughs, some groans and a feast for fans of the musical idioms it mocks and celebrates.
  5. The film's most interesting aspects are its gimmicks rather than its frights.
  6. Ms. Stone's presence nicely underscores the genre-bending tactics of Sam Raimi, the cult director now doing his best to reinvent the B-movie in a spirit of self-referential glee. Mr. Raimi is limited by a sketch mentality, which means his jokes tend to be over long before his films end. But his tastes for visual mischief and crazy, ill-advised homage can still make for sly, sporadic fun.
  7. Wants to be everything and adds up to nothing. "War" is a film that tries to excel on several levels and falls flat on all of them.
  8. It's hard to watch these two actors plow through the nonsense of K- Pax without feeling that a terrific opportunity has been squandered.
  9. The guiding philosophy of The Price of Milk seems to be that if you throw something on the screen and call it a fairy tale, it has to mean something. But it doesn't.
  10. Carefully sets itself up as an obvious, transparent morality play, and then just as deliberately refuses the easy payoff. This is both impressive and a little disingenuous: the film is in effect congratulating itself for refusing to offer a neat and tidy view of life without offering much else.
  11. Works up a reasonably delicious tingle.
  12. Best watched as a showcase for radiant young talent.
  13. Mr. Murphy is not given much to do in this sloppy, good-hearted sequel, so he graciously allows himself to be upstaged by all manner of animatronic, celebrity-voiced talking animals.
  14. One of those rare ensemble dramas whose actors work toward common goals rather than individual awards, the movie resolves its creeping escalation of poor judgment and reprehensible behavior with surprising emotional force.
  15. Dark Matter, with its view of cutthroat politics and competing egos inside a university, is also laudable in its refusal to soft-pedal the viciously petty side of the academic fishbowl.
  16. The consistent comic tone of those earlier scenes - a gentle squirm - makes The Happy Poet a promising debut.
  17. There's some limited entertainment to be found in a movie as insistently conflicted as The Mechanic, but the accretion of sadism, humorlessness and antediluvian sexual politics is finally more exhausting than enlivening.
  18. This drippy dramedy embraces every inappropriate-oldster cliché with depressing calculation.
  19. Dipping in and out of luminous black and white, Protektor has a distancing glamour that prevents the story from digging in. Burdened by a central relationship so lacking in passion that its fate becomes negligible, the film's narrative feels trivialized by jaunty musical fragments and repetitive cycling and rowing motifs that belabor Emil's metaphorical treadmill of appeasement.
  20. This emotionally manipulative, heavily partial look at the purported link between autism and childhood immunization would much rather wallow in the distress of specific families than engage with the needs of the population at large.
  21. This setup is simple, but what follows is less so: an impressionistic battle between imagination and brute force that too often veers from enlightening to exasperating.
  22. Ms. MacLaine and Mr. Plummer make an especially compatible match, because his understated portrayal of a despairing misanthrope reins in her scenery-chewing exhibitionism.
  23. This is well-worn territory, and though the two leads are very good, the romance that is supposed to drive the story isn’t particularly well delineated.
  24. The film, awkward and amateurish, is by Eric Merola, and at least it’s useful in explaining the differences among the various types of stem cells that are being explored for medical treatments.
  25. Considering the dreary circumstances, the performances are quite good, especially those of Mr. Scott, who can do this sort of thing before breakfast; Timothy Hutton, an Oscar winner for Ordinary People; Sean Penn, as the one cadet at Bunker Hill with a grain of sense; Tom Cruise, as a murderously gung-ho cadet, and Evan Handler, as a cadet who remains a humane civilian at heart.
  26. [McConaughey's] wild, abrasive and improbably delicate performance is what makes Gold watchable, even if the rest of the movie doesn’t supply sufficient reason to keep watching.
  27. Mr. Kwanten, meanwhile, best known for playing the sweet, dim Jason Stackhouse on the HBO show "True Blood," gives Griff the delicate, ethereal affect of a man who's an alien in his own world except when he's running down an alley in a disguise. He's a pleasure to watch.
  28. Blind Date is farce of a traditional and even old-fashioned sort, but Mr. Edwards's complete enthusiasm for the form creates a comic style so avid that it's slightly surreal. Comic possibilities are everywhere in Blind Date, and the tireless Mr. Edwards leaves none of them unexploited.
  29. A tropical tornado of cadmium and cobalt, magenta and marigold, Carlos Saldanha’s frantic follow-up to his well-received 2011 animated feature, “Rio,” ups the ante on sound and movement but pays scant attention to story.
  30. Lifted by the sepulchral Stephen McHattie as Lisa’s nemesis, the film’s frazzled thought experiment becomes an adequate yarn.

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