The New York Times' Scores

For 11,492 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: 59
Highest review score: 100 Gosford Park
Lowest review score: 0 Grown Ups
Score distribution:
11492 movie reviews
  1. 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.
  2. Raajneeti, with its large cast of characters and wealth of subplots, is often a mess, but an interesting one.
  3. 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.
  4. 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.
  5. It is so dishonest that the title Changing Lanes can just as well refer to the cheaply contrived turns in the film.
  6. Mr. Sarmah's film is well intentioned, but it comes off as a kind of Cliffs Notes to enlightenment.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. Mr. Singh may have an artist's temperament, and he shows signs of being a director
  13. 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.
  14. 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.
  15. The movie is consistently tougher to resist than it might seem.
  16. The net effect of the messy bedroom sheets, the marital squabbling and lachrymose, emotional bloodletting is to turn a tragedy into an atmospheric backdrop for three isolated souls, all of whom might have started out considerably less lonely if the movie had a firmer grasp on the world in which they live.
  17. Couldn't the creative minds at the 20th Century Fox animation studios, hoping to wring a few hundred million dollars more out of their prized family-animation franchise, have come up with something more original?
  18. Mr. Perry himself plays Terry, the most reserved and mature of the group. At the risk of being condescending, it has to be said that if he had put on his dress and wig and shown up as Madea the movie might have been funnier.
  19. It’s sweet, sentimental, almost inevitably touching if not especially persuasive, brushing against the thorns in each man’s life without drawing blood.
  20. The journey, an exploration of the passion for soccer that evolves into a history of the ball (a sort of film version of the anthropologist John Fox’s 2012 book, “The Ball”), is somewhat illuminating, often indulgent and never wholly satisfying.
  21. Style overwhelms substance by default.
  22. The gently nostalgic mood and sleepy pacing effectively erase the movie’s necessary edge.
  23. The guy's not much of a filmmaker, but he certainly gets your attention.
  24. The Interview is pretty much what everyone thought it would be before all the trouble started: a goofy, strenuously naughty, hit-and-miss farce, propelled not by any particular political ideas but by the usual spectacle of male sexual, emotional and existential confusion.
  25. With its emphasis on global positioning devices, Jet Skis and computer-designed surfboards, Mr. Boston's film is very much concerned with the stuff and very little with the spirit of professional surfing as practiced today.
  26. Relies less on the novelty of its premise than on the positioning of solid actors in minor roles (including Melissa Leo and Martin Donovan as the tortured parents of a murdered child) and the intelligence of its star.
  27. A film that not only breaks the cross-dressing barrier but also ratchets up the violence level for children's animation.
  28. If making a decent movie required only good intentions, then Pray for Japan would be off and running. As it is, though, this muddled collage of random impressions and personal histories, emerging from last year's destruction of the Tohoku coastline by the earthquake and tsunami, doesn't document a tragedy so much as repeat a mantra.
  29. As the plot swerves toward an almost crazy conclusion, there is the inkling of a strong, interesting idea here, about how some versions of modern religion are predicated on the systematic denial of reality, but Salvation Boulevard is itself too loosely tethered to the actual world to make the point with the necessary vigor or acuity.
  30. If Mr. Duvall's finely textured performance is a testament to the power of good screen acting to lift a film above the mundane, the movie's many irritating tics demonstrate that he is much more at home in front of the camera than behind it.

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