The New York Times' Scores

For 11,422 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Argo
Lowest review score: 0 The Big Bang
Score distribution:
11422 movie reviews
  1. The vogue for retro-horror, particularly the stripped-down shivers of 1970's slasher flicks, continues apace in this nasty little piece of work from Australia.
  2. Slight but bright and charming.
  3. An unpleasant comedy about friendship, aims to be a female twist on the bromance. Crude and knockabout, it nonetheless has - like many a bromance - a sloppy, sentimental heart.
  4. For all its flighty charms, The Extra Man never really lands. It hovers like a hummingbird madly beating its wings to stay aloft.
  5. Watching the quasi-documentary marketing tool Mindless Behavior: All Around the World, you would think that the boy band Mindless Behavior existed as a charity, so abundant are the platitudes about the members’ living for the fans, being positive, inspiring others and the self-actualization of the “mindless” state.
  6. Purports to be a documentary about the American public school system. In reality, however, it’s a bludgeoning rant against a single state — New Jersey — which it presents as a closed loop of Mercedes-owning administrators, obstructive teachers’ unions and corrupt school boards.
  7. Uninspired Update, Unintentional Laughs.
  8. Lush, lurid and completely besotted with itself, Eternal is one of those movies normally found slinking around the ether of late-night cable television.
  9. The full-on goofiness is not reliably buoyant; this is an intermittently enjoyable but often choppy comic ride.
  10. Connoisseurs of craziness need wait no longer. Cobra Verde opens today in all its feral, baffling glory. Along with "Aguirre" and "Fitzcarraldo," Cobra Verde completes a trilogy of mayhem and megalomania in hot climates.
  11. In 9 1/2 Weeks, he has created a work that might well qualify as a truly nouveau film. Here is a movie in which actors impersonating characters are blended into the decor so completely that they take on the properties of animated products, no more or less important than exquisitely photographed strawberries.[21 Feb 1986, p.C17]
    • The New York Times
  12. The consistent comic tone of those earlier scenes - a gentle squirm - makes The Happy Poet a promising debut.
  13. The truth about the case of Christine Collins is so shocking and dramatic that embellishment must have seemed pointless, but in sticking so close to the historical record, Mr. Straczynski and Mr. Eastwood have produced a distended, awkward narrative whose strongest themes are lost in the murky pomp of period detail.
  14. Either way, it doesn’t quite go far enough as psychological study or cultural commentary.
  15. Represents something new under the sun: sincere camp.
  16. This tale of a yuppie couple (played by Ayushmann Khurrana and Sonam Kapoor) flirts with intriguing notions of recessionary struggle, though strained, contrived humor bogs it down.
  17. Like Tango, Sal and Eddie, Mr. Fuqua and Mr. Martin dig themselves into a pulpy predicament, and then find themselves unable to do anything but shoot their way out. The movie is wounded, but it’s also too tough to kill.
  18. Raajneeti, with its large cast of characters and wealth of subplots, is often a mess, but an interesting one.
  19. The House of Yes was adapted from a play by Wendy MacLeod. And the movie, with its brittle, outrageous dialogue has a shrill stagy feel. That would be fine, if the dialogue sustained the stylish crackle of a drawing-room comedy gone berserk, but there are many gaping holes between the funny moments.
  20. Ms. Wood's performance bounces with mood swings from anxiety to exhilaration in a movie with moments so realistically painted that your eyes will sting from the fumes.
  21. It is so dishonest that the title Changing Lanes can just as well refer to the cheaply contrived turns in the film.
  22. Mr. Sarmah's film is well intentioned, but it comes off as a kind of Cliffs Notes to enlightenment.
  23. A forest of talking heads and pointing fingers, The Empire in Africa is a noble but failed attempt to explicate the tragedy of the 11-year civil war in Sierra Leone.
  24. The best moments come when Mr. Smith and Mr. Lawrence are permitted to pause from their action-hero duties and run their funny, unpredictable mouths.
  25. A feature-length talkathon built on a sketchy premise, some unpersuasive psychology, a pinch of politics and strong star turns from Liam Neeson and James Nesbitt, the appeal of all those words runs out long before the director Oliver Hirschbiegel turns off the spigot.
  26. As an absurdist suspense film, Jackpot mostly hits its marks. As a comedy, it’s less successful, stronger on sight gags than on the detective’s sarcasm.
  27. The dog is cute, the children are adorable, and the earth and the sky seem to stretch on without limit in The Cave of the Yellow Dog. Unfortunately, so does the slight story.
  28. Mr. Singh may have an artist's temperament, and he shows signs of being a director
  29. Like the screen Tintin, the movie proves less than inviting because it's been so wildly overworked: there is hardly a moment of downtime, a chance to catch your breath or contemplate the tension between the animated Expressionism and the photo-realist flourishes.
  30. The story of dependence and excess is sadly familiar — and as with most of its material, I Am Chris Farley doesn’t find a fresh way to tell it.

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