The New York Times' Scores

For 9,990 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 Sugar
Lowest review score: 0 Bio-Dome
Score distribution:
9,990 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. Busy, garish and periodically amusing.
  6. 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.
  7. 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.
  8. Straining to find a correlation, even metaphorical, between teenage hedonism and economic collapse, Affluenza never coheres.
  9. 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.
  10. 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.
  11. 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.
  12. Mr. Davis has a lot of ideas, but when it comes to dramatizing them, he is unable to give them an engaging form.
  13. Its serious intentions notwithstanding, Beware the Gonzo is essentially a comedy with a mean streak; its portrait of the big man on campus is truly venomous.
  14. The joke of it is, for all the pricey bangs and booms, the whiplash cinematography and the editing that turns film space into cubistic tableaux, a Bruckheimer-and-Scott partnership is only as good as its screenplay, and this one is a mess.
  15. The film is at once overly eccentric and underdeveloped. It starts as an exercise in bleak absurdism and ends as a Frank Capra Christmas special, with little originality in between.
    • 57 Metascore
    • 40 Critic Score
    Part domestic drama, part thriller, the microbudget shot-on-video feature Laura Smiles is so ambitious that its ultimate failure is more depressing than anything in its dark script.
  16. A faux documentary grounded in ethnicity and mired in absurdity, Finishing the Game is a terrific idea still waiting to be fashioned into a real movie.
  17. In his debut the director, Dan Bradley, a stunt coordinator with a long list of credits, handles the low-fi action well, which helps divert attention from the bargain-bin special effects, bad acting and politics.
  18. A raunchy romantic comedy that, like its heroine, rarely has both feet on the ground.
  19. The entertainment formula behind this short and nasty movie - devised according to someone's idea of what teenage boys with the guile, the facial hair or the "guardian" to gain admission to an R-rated movie are likely to enjoy - is sloppy and simple.
  20. The upshot is that instead of a film about a love that conquered a king and nearly undid a kingdom, Madonna has come up with a female friendship movie, which would be fine if she weren't busy trying to prove her art-film bona fides.
  21. The hokey solemnity of A Love Song for Bobby Long suggests "The Mundane Secrets of the Ya-Ya Brotherhood" or "The Notebook Goes to the Big Easy." The movie is another example of Hollywood's going soft and squishy when it goes South.
  22. The bloody chaos can be suitably overwhelming, but you're too aware of the whizzing camerawork, helter-skelter editing and bombastic score.
  23. Sleek, attractive and ultimately vapid.
  24. Proceeding in a tone of unrelieved misery, Coldwater is a punishing, predictable drama that’s almost rescued by strong acting and good intentions.
  25. American audiences will probably find it familiar and insufficiently cathartic.
  26. The humor is coarse and occasionally funny. The archly bombastic score, by Edward Sheamur, is the only thing you might call witty. But happily, Jennifer Coolidge and Fred Willard show up, as the White Bitch and Aslo the Lion, to add some easy, demented class.
  27. This breathless demi-noir has so much bounce that we barely get any time to mull over the gaping holes in its moth-eaten plot. It is competent but extremely slight.
    • 42 Metascore
    • 40 Critic Score
    With its exasperating camerawork, murky lighting - at least two scenes are near indecipherable - and interminable shots of Fannie gazing slack-jawed at the world, Piggie is a disappointing debut.
  28. Neither the action nor the comedy in this action comedy is consistently strong.

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