The New York Times' Scores

For 11,560 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 Mission to Lars
Lowest review score: 0 The Abduction of Zack Butterfield
Score distribution:
11560 movie reviews
  1. It's a clever idea bogged down in sophomoric sloppiness. Sitting through it doesn't feel like eternal damnation, but it's not exactly heaven, either. It's a $9.50 tour of adolescent purgatory.
  2. Mr. Sawyer eventually overreaches, striving for tragedy with a grim, cautionary ending that seems meant to evoke "Frankenstein." But the film's offhand, homemade quality sustains a quirky appeal.
  3. The movie goes beyond alarmism with solutions that on the surface would seem to find common ground between environmental advocacy and unfettered capitalism.
    • 64 Metascore
    • 60 Critic Score
    Some of the most upsetting images are from a century and a half ago: Mathew Brady photos of the Battle of Antietam during the Civil War, the conflict that gave birth to modern battlefield surgery.
  4. Ms. Foster and the screenwriter, W. D. Richter, have given this film some peculiar mood swings, so that it starts out zanily and winds down to a wistful note.
  5. Union Square has the busy, hemmed-in talkiness of a theater piece, with too much forced to happen in too short a time. But it also has a lively, nervous energy and an expansive sympathy for the mismatched women at its heart.
  6. An entertainingly ridiculous update of Mary O’Hara’s 1941 children’s novel, “My Friend Flicka.”
  7. Its characterizations may be overwrought — it is a thriller, after all — and the audience might prefer to have sympathy for a character without being practically told to feel it. But the acting is strong.
  8. This comic take on “The Adventures of Huckleberry Finn” and “The Adventures of Tom Sawyer” is infused with a gleefully absurdist sense of humor while retaining a childlike sense of wonder.
  9. Though the film is far from polished, the force of its significance to Mr. Frey, as well as the urgency of its political message, give it some genuine impact.
  10. The visual environment created by the filmmakers (Phil Lord and Christopher Miller of “21 Jump Street” wrote and directed; the animation is by Animal Logic) hums with wit and imagination... The story is a busy, slapdash contraption designed above all to satisfy the imperatives of big-budget family entertainment.
  11. The film is so artfully contrived, the plot so interestingly started, the dialogue so racy and sharp, and John Frankenheimer's direction so exciting in the style of Orson Welles when he was making Citizen Kane and other pictures that the fascination of it is strong. So many fine cinematic touches and action details pop up that one keeps wishing the subject would develop into something more than it does.
  12. The film is an unabashed promotion for space exploration.
  13. Perhaps the world doesn't need another picture on disaffected youth, but Pleasures is about more than alienation.
  14. It’s not the derivative scares and rudimentary effects that keep this low-budget effort percolating but the improvisational energy of Mr. Santos and Mr. Villarreal, whose ease, chemistry and humor never flag.
  15. It does have its tart, fizzy moments.
  16. Joins the small pool of films that have dared to use Imax to tell a story.
  17. As it rubs our noses in our own fascination with vanity and the silliest values in life, it's charming enough to make us like it.
  18. The unabashedly sentimental film is a juicy morsel for the great British actress Dame Joan Plowright, who endows Mrs. Palfrey with stoic charm and decency.
  19. Glory Road is satisfying less for its virtuosity than for its sincerity, and also because it will acquaint audiences with a remarkable episode that had ramifications far beyond the basketball court.
  20. Ms. Myers too often tells rather than shows, and she doesn’t have the cinematic skill set to transform her idea into a fully satisfying movie, especially at this low-budget level.
  21. By ignoring Israeli voices and focusing only on the immigrants, Mr. Haar has produced a documentary filled with immediacy but free of analysis, a fascinating but ultimately unenlightening record of their plight.
  22. LOL
    Authentic in texture if narrow in scope, LOL is a movie about the way we live -- or rather about the way white, urban, heterosexual circuit boys are failing to live.
  23. Married to the Mob works best as a wildly overdecorated screwball farce.
  24. Knowing but never jaded, Hollywood Dreams is driven by Ms. Frederick's no-boundaries commitment to her broken character, a performance that's as startling as it is touching. In Mr. Jaglom's maverick hands, the appeal of illusion over reality is both fatal and irresistible.
  25. Ms. Bynes, with her cherubic face, expressive eyes and comic timing, helps create a positive, pleasing diversion that caters to the geek in all of us.
  26. Over all, this movie is less “you are there” than “you had to be there.”
  27. It is not so much a documentary as a fictional film about the making of a documentary, or perhaps a documentary about the making of a fictional film about the making of a documentary. If this sounds a bit maddening, it is, though the confusion that The Blonds induces is clearly part of its intention.
  28. Stuffed with plummy English accents and the most inauthentic classroom scenes since those of "Billy Madison," Life, Translated has a childlike innocence that seems targeted toward a preteenage audience.
  29. If its tone is considerably tougher than that of movies adapted from Nicholas Sparks novels, it is still a grown-up soap opera. And as the overly determined plot progresses, it feels increasingly Sparks-like, although there are no dewy young lovebirds to swoon over.
  30. The title character is a child, but two adult actors, Kathy Bates and Glenn Close, really give The Great Gilly Hopkins its considerable heart. This movie, though uneven, is affecting because of these two reliable stars.
  31. Inner child? Open road? No, this film is actually about Mr. O'Nan and his wan, scruffy innocence.
  32. The voice-over-driven readings and the illustrative footage — unwisely augmented with new sound effects — lack a fundamental filmic momentum.
  33. With Ms. Wilson's rare talent for staying in character as the media circus swirls around her, Janeane From Des Moines is actually a commentary on the immense gap between a desperate citizen and the politics she had hoped might help her.
  34. Mr. Broomfield maintains a level of cool detachment throughout. That's to the good of the movie, which, though technically exemplary, falters dramatically on occasion, becoming dangerously close to overheated whenever the characters speak for any length.
  35. Bright, good-spirited and blissfully short.
  36. Manages to have playful comic ingenuity of its own.
  37. Mr. Bateman’s direction of the actors is especially sensitive in this and other tricky scenes, showing a delicacy with emotional textures that isn’t always matched by the story, especially when Annie and Baxter speak in therapeutic clichés.
  38. More often, the film is like a ride through a car wash: forward motion, familiar phases in the same old order and a sense of being carried along steadily on a well-used track. It works without exactly showing signs of life.
  39. The action sequences mostly have tension and punch, even if the movie is old-school long — 2 hours 41 minutes — and the plot doesn’t bear too much scrutiny.
  40. Eastwood directs a sensible-looking genre film with smooth expertise, but its plot is quietly berserk.
  41. Mr. Anderson displays his mastery as a director in the sword-fighting scenes... But the glares and eye rolls that bookend these scenes are what make this film both GIF-ready and campy fun.
  42. The film’s messages about friendship, acceptance and being yourself are clear enough for the young, and grown-ups can read the story as a warning about conformity and about going to war on false pretenses.
  43. Suicide Squad is a so-so, off-peak superhero movie. It chases after the nihilistic swagger of “Deadpool” and the anarchic whimsy of “Guardians of the Galaxy” but trips over its own feet.
  44. No one in the film has a bad word to say about Mr. Trudell, despite his 17,000-page F.B.I. dossier; and by the time Robert Redford assures us that meeting him is not dissimilar to meeting the Dalai Lama, you may feel that all this worship does not do justice to an unusually stormy and complicated life.
  45. Some of this seems like stoner’s paranoia, and some of the film’s talking heads, mainly comedians, don’t make the best advocates. Over all, though, its experts... argue forcefully for decriminalization.
  46. The storytelling becomes muddled in the middle, and the suspense doesn’t build as well as it ought to, but the winking undercurrent keeps the film watchable.
  47. In a subversion of the usual horror-movie rhythm, the central secret is revealed about halfway through.
  48. Like many other recent documentaries about artists, it is more celebratory than analytical, a kind of slick, extended promotional video for its subject.
  49. Fans will love it; their main complaint may be that it ends too soon. Amateur psychologists in the audience, meanwhile, may be asking why such a successful guy seems so defensive.
  50. Burning Man benefits from the highly watchable Mr. Goode and able players like Rachel Griffiths and Kerry Fox.
    • 48 Metascore
    • 60 Critic Score
    The kind of movie that’s apt to be dismissed a goofy lark. It is that. But it’s also a rare comedy that believes in its own message, and that could inspire the depressed and the demoralized to grit their teeth and keep running.
  51. Best appreciated for its sustained creepy vibe and sporadically arresting images, Heartless moves from one outré moment to another, from one self-conscious allusion to the next ("Donnie Darko" and "Taxi Driver"). It doesn't go anywhere special or much of anywhere, though it goes there in appreciably icky style.
  52. Unforgivable isn't one of Mr. Téchiné's greatest achievements, but it's engrossing even when its increasingly populated story falters, tripped up by unpersuasive actions, connections and details.
  53. Mr. Malick presents these events as if he had drawn them not from his mind but from some repository of celestial memory. Which may be to say that Voyage of Time ultimately proves his point about the way the universe and human consciousness mirror each other. But it’s a point that might have been more powerful if he had left it unspoken.
  54. A loving if routine primer on this bright young man.
  55. Some of the performances show flashes of idiosyncrasy and flair that are nearly snuffed out by the pedestrian script.
  56. The diagrammatic script, by Jarret Kerr, has wit but could sometimes use more nuance. But there are tasty performances.
  57. The coming-of-age story about the corruptions of the big city has been done a few thousand times, but at least this one offers a fresh mix of open-minded intelligence and a heartfelt point of view.
  58. The shriller its didacticism, the more unhinged it becomes. But even at its most ludicrous - when it is shouting into your ear - its sheer audacity grabs your attention.
  59. Nostalgia gives way to melodrama, and dramatic truth to soapy histrionics, and Blue Jay falters on a formulaic revelation about mistakes made and lessons learned too late.
  60. Ms. Passon ultimately seems to skirt some of the larger life questions hinted at along the way.
  61. Aside from the change of setting, Ms. Ullmann’s version is quite orthodox. Much more convincing than Mike Figgis’s 1999 screen adaptation, starring Saffron Burrows, it is a grueling slog through a hell of torment, cruelty and suffering.
  62. It is possible to admire the craft and sensitivity of Louder Than Bombs without quite believing it. The characters are so carefully drawn that they can feel smaller than life, and the dramatic space they inhabit has a curiously abstract feeling.
  63. Each narrative fissure further thwarts meaning. The most you can ask from a movie as nullifying as this one is that it offer wit and visual panache, which it does.
  64. The overall mood is of warm reassurance, and some of it is even pretty funny.
  65. A moody, spooky tale, rendered with laudable economy.
  66. The plot matters only inasmuch as it allows the returning director, Chad Stahelski, to stage his spectacular fight sequences in various stunning Roman locations, where they unfold with an almost erotic brutality.
  67. The narrative scheme, the brooding period atmosphere, the understated score (by David Byrne) and the precision of the acting also make the story seem more interesting than it is.
  68. Trucker sometimes feels like a performance in search of a movie.
  69. The best case for Warriors is its cinematic time travels and its peek into the natural wildness of a long-closed countryside.
  70. Los Angeles Plays Itself, in spite of its length, is rarely tedious, an achievement it owes mainly to the movies it prodigiously excerpts.
  71. Cyrus is more finely tuned than their earlier movies ("The Puffy Chair," "Baghead"), but it shares a similar, almost aggressive lack of ambition. John doesn't work hard and neither do the Duplasses, who don't want their audiences to break a sweat either. That's too bad, because Cyrus is more interesting and fun when you're recoiling at the effrontery of its comedy and not its conventionality.
  72. At length, the cheerleading...becomes a mildly taxing torrent. And Mr. Struzan, while an agreeable presence, is not an especially engrossing speaker. But then there is his artwork, an essential aid to the movies — and often their superior.
  73. Kisses may strike you as either ingeniously magical or insufferably cute, depending on your taste. But more than the story, which circles back on itself, the natural performances of its young stars, Shane Curry and especially Kelly O'Neill, nonprofessional actors, lend the movie a core of integrity.
  74. The director’s discipline is remarkable, and also a bit constricting.
  75. The performances are conscientious and earnest.
  76. It’s fortunate that the cartoons on display are such instantly satisfying works of popular genius, because, despite its subject, “Herblock” shows how even an edifying talking-heads documentary bumps up against the limitations of the format.
  77. The film falls short of explaining Mr. Ali, who, like many outspoken individuals, can stubbornly repel scrutiny, nor will it pacify the many who opposed his conscientious objections. But it also underlines one enduring quality: namely, that he probably couldn’t care less what people think.
  78. Sarah Silverman burns through the indie drama “I Smile Back” without making the slightest move to gain our sympathy.
  79. Despite the slow start Mr. Condon closes the series in fine, smooth style. He gives fans all the lovely flowers, conditioned hair and lightly erotic, dreamy kisses they deserve.
  80. Poking the bear of repression has consequences beyond Mr. Zahedi's immediate artistic goals, as this layered, intermittently fascinating documentary makes abundantly clear.
  81. Messy in parts and at least 15 minutes too long, Personal Tailor is also cunningly acted and lushly photographed (by Zhao Xiaoshi) in dazzling candy-bright colors.
  82. What Dreams May Come, based on a novel by Richard Matheson and directed by Vincent Ward, the New Zealand filmmaker noted for his skill at creating lavish cinematic dreamscapes, represents the uncomfortable collision of two ideas about filmmaking, one commercial, the other eccentrically, ambitiously dreamy.
  83. Once you accept the notion that Tea With Mussolini aspires to be little more than a kind of British-Italian ''Steel Magnolias,'' with a patina of World War II-movie uplift, it becomes a pleasure to watch its stars shamelessly hamming it up.
  84. Mr. Van Der Beek, manlier than in his “Dawson Creek” days, gives an able performance in a movie whose Asian actors tend to overplay the intrigue in an exaggerated 1940s style, exchanging sinister meaningful looks and, in general, hamming it up.
  85. Mr. Nossiter’s main point is that traditional farming methods have become revolutionary in a country that, we’re told, has grown progressively less agrarian. Mr. Nossiter champions that activism in this mellow, unfocused film.
  86. A quirky offering by Kyle Smith that does nothing more or less than show a touch-football game among friends. "It's sort of interesting," you might find yourself saying, "but is it a film?"
  87. The film's leisurely pace seems to capture the rhythms of island life. Though often random in its organization - Mr. Tocha slides from contemplative seascapes and misty meadows to a slaughterhouse and the Corvo landfill - this portrait is still much more than a snapshot.
  88. The actors are so relaxed and personable that the film’s occasional glibness — and its over-reliance on coincidence to further the cross-pollinating narrative — is easy to let slide.
  89. Would seem hokey if it didn't have powerful, extraordinary central performances and cinematography that lends the English landscape around Cornwall a mythical cast.
  90. A woozy, disconnected piece of filmmaking about drugs, rock 'n' roll and the aftermath of sex.
  91. Red Heat is a topically entertaining variation on the sort of action-adventure nonsense that plays best on television. Mr. Hill's touch is heavy when he takes himself seriously. However, he has a real gift for instantly disposable fantasy.
  92. If you have seen the earlier version, you can occupy yourself with point-by-point comparisons. If not, you may find yourself swerving between bafflement and mild astonishment, wondering how a movie that works so hard to generate intensity and surprise can feel so routine and bereft of genuine imagination.
  93. The movie's tolerant, good-humored view of its characters drains it of some dramatic intensity, but Mr. Harris seems more interested in piquant, offhand moments than in big, straining confrontations.
  94. Like Christopher Walken or Marlon Brando, Mr. Pacino frequently uses his gifts to make mediocre movies more interesting. Everything else in The Recruit may be tiresomely predictable, but he, at least, is not.
  95. The skills on display in Freestyle are too varied and idiosyncratic for one movie to contain, but this one at least offers a heady, rousing education in an art form that is too often misunderstood.
  96. Unearthing a decent sample of these former members, as well as a wealth of archival film and photographs, the directors elicit testimony that’s diversely sharp, spacey, nostalgic and heartbreaking.
  97. Best of all, Mr. Law doesn’t skimp on wide-screen compositions; this is one movie designed for the theater, not the couch.
  98. The filmmakers build an argument that is both intellectual and emotional, concentrating as much on the forensic evidence as on Ms. Rosario's passionate commitment to finding justice for her son.

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