The New York Times' Scores

For 10,045 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 The Queen
Lowest review score: 0 Hush
Score distribution:
10,045 movie reviews
  1. Despite its sense of mission, the film suffers from soapy excesses and narrative disjunctures.
  2. These characters may serve an obscure metaphorical agenda, but they make no psychological sense. And as the movie contemplates the rewards and perils of giving and receiving, it winds itself into stomach-turning knots.
  3. This gentle comedy, while entirely unmemorable, releases a genuine warmth that deflects harsh judgment. It doesn’t, however, excuse characters that are little more than props for embarrassing fashion or delivery systems for dated slang.
  4. Premature bops along with a wiseacre self-awareness and a nimble cast... But Mr. Beers and his fellow screenwriter, Mathew Harawitz, also have a numbing Seth MacFarlane-esque weakness for purely attention-getting crudeness and unfunny stereotypes.
  5. 21
    Greed is good and comes without a hint of conscience in 21, a feature-length bore about some smarty-pants who take Vegas for a ride.
  6. The semi-improvised performances, which seem so natural that it is tempting to confuse the actors with their characters, bring Baghead into the realm of group therapy observed through one-way glass.
  7. 24 Exposures plays like an exercise. With a thin plot — the usual parade of possible killers — it falls to the actors to provide zing.
  8. A one-joke mockumentary.
  9. The director, Ryuhei Kitamura, whose earlier films include the cult film "Versus," brings nothing new to the samurai-swordsman game other than some styling shorts for the whelps and a miniskirt for Azumi.
  10. The most depressing thing about this series is not the creativity of the bloodletting but the bleak view of human nature.
    • 36 Metascore
    • 40 Critic Score
    Aside from a stunning three-minute tracking shot as the gang pursues Nick through a parking garage, and Mr. Bacon’s hauntingly pale, dark-eyed visage, Mr. Wan’s film is a tedious, pandering time-waster.
  11. Bland and only occasionally funny.
  12. Ms. Miller has attempted to elevate a small Oedipal story about two damaged souls into a grandiloquent epic, Shakespeare by way of Bob Dylan. She misses by a significantly wide mark, largely because she loves her monster too much and his victim too little.
  13. The ghastliness of this damp and squishy comedy is the byproduct of a confused and earnest sentimentality, a willful devotion to wide-eyed wonder that confuses simplicity with simple-mindedness.
  14. Plays less like a documentary than an E! exposé of lowlife skulduggery.
  15. Though Mr. Rose can't be blamed for waxing nostalgic, he can't much expect us to care about so fawning and self-serving a document.
  16. In both Twist and "Idaho," the act of placing a larger-than-life literary figure in a constrained, narrowly naturalistic environment merely strips the characters of their scale and interest.
  17. No amount of splenetic ranting by Brian Cox, a wonderful actor, when given the right role, can salvage The Good Heart from terminal mawkishness.
  18. Woody Allen proved long ago that the self-pitying introvert is a fit subject for a movie, but only if the film has a strong enough sense of humor to make us laugh at ourselves. But Brooks Branch, who directed Multiple Sarcasms and wrote the screenplay with Linda Morris, was either too lazy to come up with the absurdist aphorisms that might give Multiple Sarcasms a lift, or he labored under the delusion that Gabriel’s metaphysical malaise is such a fresh idea that it deserves microscopic inspection.
  19. Too often it calls to mind the much better “Delhi Belly,” which had a genuinely madcap script and sharper things to say about being young, urban and Indian.
  20. 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.
  21. If Bella (the title doesn’t make sense until the last scene) is a mediocre cup of mush, the response to it suggests how desperate some people are for an urban fairy tale with a happy ending, no matter how ludicrous.
  22. Busy, garish and periodically amusing.
  23. Ted
    The sin of Ted is not that it is offensive but that it is boring, lazy and wildly unoriginal. If Triumph the Insult Comic Dog ever got a hold of Ted, there would be nothing left but a pile of fluff and a few scraps of fur.
  24. The intertwining of the narratives, along with the somewhat elliptical, or perhaps rudimentary, storytelling, makes for a confusing experience. But the stories are mainly an excuse for pretty pictures, some quite striking, of poverty and oppression, and for a closing frenzy of bloodletting.
  25. Straining to find a correlation, even metaphorical, between teenage hedonism and economic collapse, Affluenza never coheres.
  26. With the ferocity of a drill instructor and the boundless confidence of a self-help guru who combines psychobabble clichés with embarrassingly explicit confessions, Ms. Lynch's Gayle redeems the movie from utter banality.
  27. The filmmakers, chronicling the Dalai Lama’s somewhat muddled attempts to respond to the protesters’ calls while not antagonizing China, do a fair amount of muddling themselves. They lurch awkwardly between reverence for the Dalai Lama and hints that he has become, politically, irrelevant or an obstacle.
  28. The real story of Christian Longo and Michael Finkel might be a fascinating and disturbing tale of crime, curiosity and journalistic ethics, but that’s not what this movie is.
  29. Mr. Davis has a lot of ideas, but when it comes to dramatizing them, he is unable to give them an engaging form.

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