The New York Times' Scores

For 9,534 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 Mystic River
Lowest review score: 0 State Property
Score distribution:
9,534 movie reviews
  1. Like a ham-fisted high-concept public service announcement, directed with stagy deliberateness and written with tin-eared vernacular speechiness.
  2. Feels like an early rehearsal for a play where all the movement is being coordinated but the underlying emotional notes have yet to be set.
  3. Like its title, it's a clumsy contraption.
  4. The movie doesn't turn out to be as benignly right-wing as it initially suggests, though the plot turns can be spotted a mile away.
  5. A modest but engaging mixture of comedy and drama that derives most of its energy from the performance of Callie Thorne.
  6. It's sad and misguided and boring.
  7. A muddled film with John Waters aspirations.
  8. A candy-colored, unabashedly sentimental movie.
  9. Forlorn melodrama, which is low on drama and high on mellow.
  10. Clearly, this is an affair to forget.
  11. Two ridiculous blood-soaked hours.
  12. Could serve as a textbook example of what to avoid in nonfiction filmmaking.
  13. By interweaving several stories, the movie suffers from a peculiar multiplier effect: it deepens its shallowness.
  14. Loses its way in rhetorical excess and blatant sentimentality.
  15. (Shue's) sweetly likable performance is the only coherent element in a film that has the impersonal feel of a television drama slapped together in a rush.
  16. Like a soft drink that's been sitting open too long: it's too much syrup and not enough fizz.
  17. The guiding philosophy of The Price of Milk seems to be that if you throw something on the screen and call it a fairy tale, it has to mean something. But it doesn't.
  18. Suffers from a fatal lack of modulation. It paints a picture of inner-city life as an endless sequence of beatings and shouting matches, and in its glum cartoonishness insults the people whose strivings it means to honor.
  19. Seems a little too desperate to be liked.
  20. Might be described as a muddy, cliché-ridden sudsfest that lurches uncertainly between comedy and soap opera without finding its emotional or visual footing.
  21. Bland, unrevealing.
  22. Filled with voyeuristic shots as the camera peers through picket fences and windows and around corners; the film looks as if it were shot with a surveillance camera from a 7-Eleven
  23. The movie is like spending an idle afternoon browsing, and not buying.
  24. As flimsy and manipulative as the shallowest Hollywood fantasy.
  25. So disorganized that it seems to be pulling its conclusions out of its pockets, along with scraps of paper, matches, lint and half-forgotten junk.
  26. It might have been a satisfying if not terribly original piece of historical melodrama, but its clumsiness turns it, against its best intentions, into half-baked operatic kitsch.
  27. Advance word of mouth has suggested that Ms. Basinger...turns in a performance comparable to Meryl Streep's in "Out of Africa." Would that it were so. Ms. Basinger certainly works hard at her role.
  28. By the end the most vivid figure on the screen is the lovable doggie who goes wherever dangling fingers are waiting to give the happy pooch a scratch.
  29. Strives desperately for a zaniness that is largely absent from the screenplay and from comic performances that are too blank and unfocused to register as parody.
  30. Works hard at being charming, but comedy is best when it looks effortless.

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