The New York Times' Scores

For 9,639 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Spring Breakers
Lowest review score: 0 Whipped
Score distribution:
9,639 movie reviews
  1. It is by far the least strange of all the "Pirates" episodes so far, with none of the cartoonish exuberance or creepy-crawly effects that made its predecessors intermittently delightful.
  2. The funniest, most reckless moments in The Hangover Part II, the largely mirthless sequel to the 2009 hit "The Hangover," take place in the final credits.
  3. It's this compulsion to solder melancholy to weightlessness that constantly trips up the movie; Mr. Kelly doesn't have the assurance to pull off such a difficult feat.
  4. Starting as a coldly realistic thriller, this film eventually loses its bearings as the director Miguel Ángel Vivas succumbs to a fit of nihilism, transforming Kidnapped into gruesome tit-for-tat torture porn.
  5. A rom-com fairy tale so tepid and well behaved that watching it feels like being stuck in traffic as giddy joy-riders in the opposite lane break the speed limit. You have little choice but to cool your heels and pretend that the parched crabgrass in the median is a field of flowers.
  6. Cheery, corny and perhaps calculatingly unoriginal, this is packaged entertainment so familiar it feels like a remake and so wholesome you could swear Sandra Dee starred in the 1959 original. Think of it as "No Sex and the City" for tweeners.
  7. It's hard to completely dislike a movie in which Mr. James makes like Fay Wray, hitching a ride on the back of his gorilla pal, Bernie (voiced by Nick Nolte), as Bernie clambers up a bridge.
  8. Undone by its very premise: that the two stories it tells can coexist in the same film.
  9. Favreau wavers uncertainly between goofy pastiche and seriousness in a movie that wastes its title and misses the opportunity to play with, you know, ideas about the western and science-fiction horror.
  10. It's a hard movie to engage with or even sit through, despite the fact that much of the material is interesting in its own right. Oddly, but perhaps predictably, the problem is the resolutely conventional and soft-headed way in which that material has been assembled.
  11. Worse, you never root for Ms. Calderon's Luz, who goes from sullen to more sullen to a bit less sullen. She has discipline - to lift, she has to keep her weight down and train constantly - but not much compassion and no joy.
  12. An exhausted pileup of rock-movie clichés, The Perfect Age of Rock 'n' Roll presents artistic self-destruction with the solemnity of a movie that has invented a spanking-new genre.
  13. There is a paradox at the heart of the film. It strains to celebrate diversity and individualism, while its processed music exemplifies strict corporate teamwork.
  14. A new wrinkle in how the killings spool out actually makes the film even more predictable, and the deaths, which tend to be squirmy rather than explosive, are so perfunctory and lazily jokey that they leave a decidedly bad aftertaste.
  15. A story that should have been a taut poker-faced French farce that pushed its premise to the brink of absurdity stalls, unsure of its balance between comedy and drama. The movie's one reliable constant is Ms. Huppert. You can't take your eyes off her, even when she is misused and misdirected.
  16. Mr. Khan, seasoned Bollywood beefcake, is a well-muscled hunk who doesn't take himself too seriously in fight scenes. If only the film's archly slick director, Siddique, had adopted the same winking attitude toward the romantic arc. A twist near the end sends this contrived movie into a maudlin stratosphere from which it doesn't recover.
  17. The result is a movie that isn't crummy, exactly, just blah: when the freakiest teeth on screen belong not to one of Walt Conti's animatronically realized sharks but to a good-ol'-boy called Red, you know you have a problem.
  18. Its serious intentions notwithstanding, Beware the Gonzo is essentially a comedy with a mean streak; its portrait of the big man on campus is truly venomous.
  19. If Paul Levesque, the professional wrestler better known as Triple H, hopes to follow the career path of, say, Dwayne Johnson, who is now a credible action-adventure leading man, he's going to need movies a lot better than Inside Out to do it.
    • 49 Metascore
    • 40 Critic Score
    This debut feature by the Canadian director Deborah Chow is so artistically well-intentioned and earnest in its ambitions that you can almost forgive the banality of its every scene.
  20. If Kate's hyperkinetic cheer and shrill self-absorption are Carrie trademarks, 13 years after "Sex and the City" first appeared on television, their appeal has all but evaporated. I Don't Know How She Does It seems stuck in the past.
  21. 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.
  22. It feels warmed over, devoid of urgency and, in spite of Mr. Broomfield's on-camera displays of doggedness, lacking in curiosity.
  23. This crackpot thriller from the usually competent Jim Sheridan leaves only one mystery unsolved: what on earth was he thinking?
  24. Deep down, though, this movie by the first-time writer-director Abe Sylvia is desperate for approval. Starting out with a blast of profanity and sexual brazenness, it lands in a zone of earnest, sloppy weepiness.
  25. This debut feature from Matthijs van Heijningen is as stiff as the Antarctic tundra. Where the earlier film pulsed with precisely calibrated paranoia and distinctly drawn characters, this inarticulate replay unfolds as mechanistically as a video game.
  26. Mr. Lee gathers together a lifetime of hurt without conveying that there's something personal at stake.
  27. Its scenes frequently feature Africans machine-gunning other Africans or hacking them to death with machetes. This is a disturbing sight indeed. Maybe it was intended as a metaphor, but this movie isn't nearly sophisticated enough to pull off that kind of commentary. It's not really even sophisticated enough to be an absorbing zombie movie
  28. The film advances the "let's put on a show" genre into a grim and hopeless direction, just right for hard times. In different hands Happy Life might become a decent movie. Maybe it's best thought of as a demo.
  29. The script, by Mr. Marshall and R. A. White, doesn't contain enough that's genuinely funny, which leaves everybody trying too hard. Only Ann-Margret, as the fair's reigning queen, retains her dignity.

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