The New York Times' Scores

For 10,264 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 Out of Sight
Lowest review score: 0 Shoot 'Em Up
Score distribution:
10,264 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. 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.
  9. 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.
  10. 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.
  11. The film is an unabashed promotion for space exploration.
  12. Perhaps the world doesn't need another picture on disaffected youth, but Pleasures is about more than alienation.
  13. 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.
  14. It does have its tart, fizzy moments.
  15. Joins the small pool of films that have dared to use Imax to tell a story.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. Married to the Mob works best as a wildly overdecorated screwball farce.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. Inner child? Open road? No, this film is actually about Mr. O'Nan and his wan, scruffy innocence.
  29. The voice-over-driven readings and the illustrative footage — unwisely augmented with new sound effects — lack a fundamental filmic momentum.

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