The New York Times' Scores

For 10,633 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 Rocco and His Brothers (re-release)
Lowest review score: 0 Air America
Score distribution:
10633 movie reviews
  1. As it observes these people, most of them well over 60, it conjures a melancholy definition of exile as a haunted state of mind.
  2. [An] entirely preposterous, not entirely unenjoyable movie.
  3. Mr. Friedkin, a director with a talent for kinetic screen violence, never finds his groove with Killer Joe, which lurches from realism to corn-pone absurdism and exploitation-cinema surrealism.
  4. The dark comedy (punctuated by the catchphrase “Toodle-oo”) doesn’t always come off, and the filmmaking is more off-kilter than necessary, with capricious camerawork and pacing.
  5. Atonement fails to be anything more than a decorous, heavily decorated and ultimately superficial reading of the book on which it is based.
  6. These harrowing tales are reason enough to see the movie. But Ms. Heikin wants to provide a total experience, so she adds in propaganda films, her own animated presentation of Korean history and, most noticeably, a pair of female dancers… It’s as bad an idea as it sounds.
  7. Novelty and genre traditionalism often fight to a draw. Too much overt cleverness has a way of spoiling dumb, reliable thrills. And despite the evident ingenuity and strenuous labor that went into it, The Cabin in the Woods does not quite work.
  8. Eureka never comes to life. -- In pursuing its aesthetic agenda so single-mindedly, the movie leaves the characters behind in the muck.
  9. Mr. Hernández doesn't always grab what he's reaching for -- his talent soars untethered by discipline -- but the thrust of his effort lights up the sky.
  10. More often than not, Mr. Letterman uses his movie as a toy chest of characters more than as a medium, the muggy Mr. Black included.
  11. These are performances that lost too much in the editing room, smothered by music and overshadowed by a picture-postcard vision of the American West.
  12. A movie far less interesting than its premise. It is also slightly less interesting than its hugely popular predecessor, "Bruce Almighty."
  13. It’s part comedy, part tragedy and 100 percent pure calculation, designed to wring fat tears and coax big laughs and leave us drying our damp, smiling faces as we savor the touching vision of American magnanimity. It holds a flattering mirror up to us that erases every distortion.
  14. She's All That is essentially a formulaic comedy, but it has enough glimmerings of originality and wit to make you wish it were much bolder and funnier than it turns out to be.
  15. The whole film seems to have a vague heaviness to it. The best Muppet movies have been great because they had charm. There’s no charm here, really; just self-referential jokes, decent but not memorable songs, and lots and lots of cameos.
  16. For all the trials its characters endure, you might almost describe Ramchand Pakistani as a happy movie: too happy to be entirely believed.
  17. There are nice touches... Yet many of the movie’s more nominally horrific elements are too familiar.
  18. For most of the way, Return to Sender merges creepy and sexy to good effect, thanks to a close-to-the-vest performance by Rosamund Pike.
  19. Working with four interchangeable Deweys, the filmmakers create a sufficient number of lively stunts to keep the kiddies amused, though the film's wittiest moment -- a canine parody of Dudley Moore's first glimpse of Bo Derek in "10" -- will be appreciated only by their parents. In trying to straddle both age groups, however, Firehouse Dog proves decidedly less nimble than its furry star.
    • 49 Metascore
    • 50 Critic Score
    A fine example of how feature films can be used to deliver urgent political messages, but as drama, it doesn’t quite work.
  20. Scrooged works in fits and starts. The mundane demands of the sentimental story keep interrupting what are, essentially, revue sketches, a few of which are hilarious.
  21. Lurches when it should glide, shouts when it should whisper and mumbles when it should sing.
  22. The film’s rich performances, in which every shade of every character’s emotions registers, can go only so far to camouflage the glaring lapses in a drama that often confuses hints and allusions with coherent storytelling.
  23. Any film tossing comic interludes among its closing credits has to be convinced of their hilarity and of the good will the movie has earned with viewers by then. Perhaps the film's naked traffic in sentiment up to that point made Mr. Crano so bold. Whatever; his confidence was unwarranted.
  24. Yet the urban images he presents are missing the thing that makes any city come alive: human beings. You begin to suspect that Mr. Persons hates humanity. This makes General Orders No. 9, for all its sheen of sophistication, rather simplistic: people bad, nature good.
  25. Mr. Freundlich's naturalistic sensibility gets in the way of the film's broad fantasy elements, turning what might have been a stylized romp like Robert Rodriguez's "Spy Kids" into something a little too real for comfort.
  26. A movie like The Seven Five has only minor use as a historical document; its principal function is to package gonzo tales of bad behavior into commercial entertainment that plays down the real suffering behind those stories.
  27. Aging Gen-Xers, it turns out, aren't all that witty, and Ms. Hillis and Mr. Grinnell don't have the kind of chemistry that might make this setup work.
  28. A rare and often chilling glimpse into the culture of North Korea.
  29. As the movie fizzles, Mr. Clement’s endearing performance breathes what little life is left into a movie that, much like the insufferable Charlie, can’t make up its mind about where to go or how to get there.

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