The New York Times' Scores

For 11,342 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Thunder Soul
Lowest review score: 0 Downloading Nancy
Score distribution:
11342 movie reviews
  1. Everything looks authentic, at least on the surface, from the desert dust to the messy desks and the sad, barren barracks. The characters, however, are largely cartoons, and their day-to-day exchanges are as vaguely defined as their interior lives.
  2. The plot may be a little too cluttered for the toddler crowd to follow, but the next age group up should be amused, and the script by Peter Baynham and Sarah Smith has plenty of sly jokes for grown-ups.
  3. Augmented by a trove of archival footage reaching back to the 1930s, Jesse Feldman's buoyant cinematography merges political history and sports mania into a triumphant timeline.
  4. 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.
  5. The Underneath is too chaotic to work as a thriller. The suspense kicks in too late and blends uneasily with the rest of the film. But the movie has other sorts of appeal. At heart, it is not a lurid, noir story but a study of characters caught in an emotional disaster.
  6. The workmanlike title The Bank Job is a nice fit for this wham-bam caper flick.
  7. This modest film observes evacuees from Futaba, a small town near the Fukushima Daiichi nuclear power plant, making do in their temporary shelter. Partly because this version of the movie was drastically edited to 96 minutes from 145, it feels sketchy and disjointed.
  8. As much as the story, based on a novel by Emmanuèle Bernheim, has the irresistible earmarks of the kind of high-toned bodice-ripper at which the French excel, its cinematic realization is oddly gawky and tepid.
  9. If nothing else, Space Station 3-D is a film that agoraphobics and claustrophobics can agree on. Members of both groups should stay home.
  10. A movie like The Seven Five has only minor use as a historical document; its principal function is to package gonzo tales of bad behavior into commercial entertainment that plays down the real suffering behind those stories.
  11. Though it is a tragic love story, it is also a perfect and irresistible fantasy.
  12. Dry but thoughtful drama.
  13. It’s less a social history than a commercial for alternative healing.
  14. Brett Morgen’s semi-animated, semi-documentary attempt to make the ’60s cool for a new generation of kids, does the opposite. It is a narrow, glib dollop of canned history, an affirmation of received thinking rather than a challenge to it.
  15. As it abruptly crosscuts among the five friends, it fails to lend the characters' individual stories enough dramatic resonance to make us care about them.
  16. Bland but harmless.
  17. Although Ms. Davenport pushes the analogy between this modest rescue operation with America’s invasion of Iraq a bit too forcefully, she nonetheless makes her point with persuasive, touching candor.
  18. These fond recollections of derring-do hail from a different era, and the movie’s one-sided view of history is bound to start arguments. The film is best appreciated as a straightforward testimonial: old war buddies’ hurrah against anti-Semitism.
  19. The overall vibe is morbidly entertaining, though something of a downer, partly because it's unclear if Mr. and Mrs. Pugach know that they are such sick puppies, partly because it's unclear if Mr. Klores cares that they are.
  20. The Exploding Girl can also make you feel bad about wishing that she were just a little more interesting.
  21. The ever reliable, rubber-faced Song Kang-ho plays Tae-goo, the train robber, and gives the film what little comic spark it has.
  22. It’s hard to know who the audience might be for the documentary oddity Kurt Cobain About a Son, but I bet its subject, the guy who’s still being called on to entertain us even after his death, would have hated it.
  23. It is so dishonest that the title Changing Lanes can just as well refer to the cheaply contrived turns in the film.
  24. The film doesn’t unearth anything that hasn’t already been voiced, and it could use more details on the scope of the phenomenon. But with more police shootings in the headlines just in the past few days, it’s nothing if not timely.
  25. Working from a script by Ms. Lowe and Mr. Oram, Mr. Wheatley continues in the same bludgeoning, amusingly if dubiously deadpan fashion for what soon feels like an overextended joke.
  26. The Milk of Sorrow is constrained by a rarefied screenplay and a near-mute central performance.
  27. While the movie creates an intriguing emotional space in which characters at the end of their ropes can open up, there’s the distinct sense of a missed opportunity.
  28. The nerd in me wants a bit more rigor, a bit more plausibility underneath the exuberant fakery. Maybe in the next episode.
  29. That the film works as well as it does, delivering a tough first hour only to disintegrate like a wet newspaper, testifies to the skill of the filmmakers as well as to the constraints brought on them by an industry that insists on slapping a pretty bow on even the foulest truth.
  30. Part character study, part crime thriller, Bullhead is the impressive but deeply flawed first feature written and directed by Michael R. Roskam.
  31. Again and again Katniss rescues herself with resourcefulness, guts and true aim, a combination that makes her insistently watchable, despite Mr. Ross's soft touch and Ms. Lawrence's bland performance.
  32. The actor Tim Roth makes a fierce, disturbing directorial debut with a film that treats incest as something worse than a terrible secret.
  33. Its name, the film's title, is pronounced "eggs is tense" and meant to have a whiff of the philosophical, even if its intellectual ambition seems mostly limited to spelling affectations.
  34. Diverting if heavily padded, this is the newest addition to an increasingly crowded field of political nonfiction films and certainly the easiest viewing.
  35. Watching the movie is a little like gorging on chocolate and Champagne until that queasy moment arrives when you realize you’ve consumed far too much.
  36. A liability of Casino Jack is the relative absence of its subject.
  37. When an actress gives herself as wholly as Ms. Steen does here, a filmmaker should return the favor with a comparable level of craft and commitment, which is largely absent from this movie.
  38. A film of noble intentions that eventually wears out its welcome.
  39. In Smash His Camera Mr. Galella emerges as a kindred soul for the curious documentarian and as a large, complicated personality in his own right, not entirely likable but admirable for his persistence and the quickness of his index finger.
  40. Mainstream moviemaking, with its commercial directives and slavish attachment to narrative codes isn't particularly hospitable to ambiguity...which may help explain why Mr. Shanley's film feels caught between two mediums and why Ms. Streep appears to be in a Gothic horror thriller while everyone else looks and sounds closer to life or at least dramatic realism.
  41. The concert itself was a bold, life-affirming project, but with a couple of additional extended music sequences, Mr. Xido’s film might have been more powerful and way more hardcore.
  42. Neither Mr. Gibson’s fans nor his detractors are likely to accuse him of excessive subtlety, and the effectiveness of Apocalypto is inseparable from its crudity. But the blunt characterizations and the emphatic emotional cues are also evidence of the director’s skill.
  43. Like the screen Tintin, the movie proves less than inviting because it's been so wildly overworked: there is hardly a moment of downtime, a chance to catch your breath or contemplate the tension between the animated Expressionism and the photo-realist flourishes.
  44. Though the directors, Kristi Jacobson and Lori Silverbush, smartly choose examples from among the working poor — reframing obesity as chronic malnourishment in areas where it’s easier to find a burger than a banana — they’re reluctant to get down in the political dirt.
  45. Mr. Sembène was an inspiration; as a film, Sembène! is something less than that, petering out as it goes on, but at least offering a fair-minded tribute to a master.
  46. Mr. Cooper’s direction is skillful, if overly reliant on borrowed Scorseseisms (especially when it comes to music), and the cast is first-rate, but the film is a muddle of secondhand attitudes and half-baked ideas. It feels more like a costume party than a costume drama.
  47. So unabashed in its cheesiness that it could be spread on crackers; it may spike your cholesterol levels
  48. Much too long. It starts to feel like a flabby, dramatic version of the first "Austin Powers" movie, another exercise in living anachronism as a storytelling device. By the time the picture's final note about German reunification is struck, "Lenin!" has raised a wall of indifference for the audience.
  49. After a while the movie spins its wheels, unable to find much emotional traction in the icy bleakness.
  50. An earnest study in despair.
  51. The role played by her camera in exacerbating Avery’s natural, adolescent self-absorption continues to nag; in the end, I was less concerned for the wildly indulged Avery -- whose own narration reveals a charismatic and extremely fortunate young woman -- than for the hearts breaking around her.
  52. It’s like a cheap, dry cake covered with a thick layer of frosting. But even bad cake can be enjoyable, especially if celebrating something as worthwhile as these elders, their long lives and their continued gutsiness so late in the game.
  53. A jarring realism comes both from Mr. Oliver’s script and the performances by an ensemble of brilliant character actors.
  54. Placing sex and gender identity at the center of almost every conversation, the writer and director, Eric Schaeffer, is so keen to demythologize that the film’s potentially most affecting moments are too often smothered by the hackneyed characters and setups that surround them.
  55. Maybe I’m repeating myself: The Hateful Eight is a Quentin Tarantino movie. But Mr. Tarantino is also repeating himself, spinning his wheels here in a way he has rarely done before. None of his other films venture so far into tedium or manage to get in their own way so frequently.
  56. Ms. Meeropol is steadfast in providing both sides of the story. That’s admirable, yet it can come across as uninvolving.
    • 68 Metascore
    • 50 Critic Score
    In Dancer, Mr. Polunin’s suffering may be on display, but too little of his artistry.
  57. This disdain for women is not incidental to the film; it is integral to the fantasy Mr. Brewer is selling, which is that pimping is not as hard as it looks.
  58. Goofball antics and a terrific, raucous finale can’t make up for the essential slackness of its repetitive comedy and punk chest thumping.
  59. Does a yeoman's job of recycling the day-old dough that passes for its story.
  60. Why the sisters felt that prostitution was their best alternative remains unclear, either because they aren't interested in revealing that part of themselves, or the filmmakers didn't know how to get them to talk. Or maybe Ms. Provaas and Mr. Schroder weren't interested, for political or personal reasons, in making what, despite the laughter, they ended up with: another sad story about whores.
  61. Mr. Ivin doesn't have a strong narrative line to play with or become distracted by, but he takes off on some lovely detours, whether he's narrowing in on Chook or going wide to take in the world that waits beyond.
  62. The rather lost-looking Mr. Amalric, most recently seen on screens giving his left eyeball a furious workout in “The Diving Bell and the Butterfly,” maintains a suitably funereal mien throughout.
  63. This modest, unassuming documentary about an illegal Mexican immigrant living in San Francisco is a case study of a life defined by poverty.
  64. There’s a lot to learn from How to Make Money Selling Drugs, but sometimes there’s just a lot.
  65. 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.
  66. Other People tries to lighten its heavy load with mixed results.
  67. That stink, like iffy contracts and child labor laws, remains unexplored. Filled with blind eyes and unspoken agreements, Girl Model opens a can of worms, then disdains to follow their slimy trails.
  68. The Way, Way Back has the charm of timelessness but also more than a touch of triteness. Its situations and feelings seem drawn more from available, sentimental ideas about adolescence than from the perceptions of any particular adolescent.
  69. [A] shallow but enjoyable all-American morality play.
  70. Mr. Jarecki forcefully, if not with wholesale persuasiveness, argues that our business is specifically war.
  71. The plot undermines the film’s power. At the end you may be impressed at the skill on display, but you may also wish that you were more fully moved by the spectacle of a soul laid bare and transformed.
  72. However persuasively acted, this mélange of cinéma vérité, slapstick and murder - whose story has a lot in common with the recent Australian gangster film "Animal Kingdom" - has too many narrative gaps for its pieces to cohere satisfactorily.
  73. There may be little to give you the collywobbles, but there’s quite a lot to enjoy, with Ms. Morton heading the list. Swaddled in thick cardis and shapeless scrubs, she makes Katherine a well of overanxious care and castrating comments.
  74. As Maria crumples before our eyes, many will find Stations of the Cross heartbreaking and infuriating. Others may laugh out loud at her mother, a walking nightmare of pious, punishing rectitude.
  75. May be as exhaustive a study of one man's midlife crisis as has ever been brought to the screen. But as the movie lopes along, exhaustive becomes exhausting.
  76. A crudely made, half-clever little frightener that has become something of a pop-culture sensation and most certainly the movie marketing story of the year.
  77. 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.
  78. Honeydripper is agreeable, well-intentioned and very, very slow. Sadly, it illustrates the difference between an archetype and a stereotype. When the first falls flat, it turns into the other and becomes a cliché.
  79. It never quite rises to the full potential of its theme or fully inhabits its intricately imagined space. It’s cool but not haunting — a brainteaser rather than a mindblower.
  80. The cinematic equivalent of sampling goodies from a spartan tastings menu in which the entrees, desserts and appetizers are confusingly jumbled together.
  81. The film is at its best when it’s in parody mode, though it keeps that card too close to the vest for much of its two-hour length. The humor, not the monster, is what you’re left wanting more of.
  82. The Cool School, is, well, cool, but it’s also fairly parochial.
  83. Every so often, Mr. Arslan cuts to Kurdistan, where a group of women wander the barren landscape, a Greek chorus gone astray in a film gone amiss.
  84. Mr. Pitt is himself a supernova luminary, of course, and part of the attraction of this film is how his celebrity feeds into that of his character, adding shadings to what is, finally, an overconceptualized if under-intellectualized endeavor.
  85. Overlong, predictable in its plotting and utterly banal in its blending of comic whimsy and melodramatic pathos.
  86. The latest production from the BBC Natural History Unit is a typically eye-catching, years-in-the-making chronicle of animal life that is tainted by the urge to anthropomorphize.
  87. 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.
  88. As for the authorial conceit - assembling the movie from giddy, spastic, amateur photography captured from every part of the arena - at best it yields energetic perspectives on the show, at worst it looks like a cellphone video camera having an epileptic seizure.
  89. There’s much sympathy but little tension in P J Raval’s new documentary.
  90. With Christopher Eccleston as Jude and Kate Winslet of ''Sense and Sensibility'' as his great love, Sue Bridehead, and with convincing evocations of 19th-century England from locations in Edinburgh and the north of England, Jude remains a handsome if gravely flawed film.
  91. While "Room 237" sought evidence for its most outlandish conceits, The Nightmare declines to delve. As the testimonies grow repetitive, the strategy suggests willful ignorance.
  92. This film often fumbles, but it finally tugs at the heartstrings all the same.
  93. Tight, sober and strangely comical.
  94. At a certain point, Mr. Carruth's fondness for complexity and indirection crosses the line between ambiguity and opacity, but I hasten to add that my bafflement is colored by admiration.
  95. The Witches of Eastwick does have enough flamboyance to hold the attention, directed as it has been by Mr. Miller in a bright, flashy, exclamatory style. But beneath the surface charm there is too much confusion, and the charm itself is gone long before the film is over.
  96. It has the loose-jointed feel of a bunch of sketches packed together into a narrative that doesn't gather much momentum. Its conspiratorial eager beavers are so undeveloped that they could hardly even be called types. You don't care for a second what happens to them.
  97. Does not entirely play by the established conventions of its genre. Its willingness to explore states of feeling and modes of behavior that tamer romantic comedies never go near is decidedly a virtue, though this same sense of daring and candor also exposes its limitations.
  98. Race is raised as a possible reason for Idris’s and Seun’s problems, and then other potential determinants (a learning disorder, illness) are introduced. But the filmmakers don’t engage with these life events and issues: They just line them up as if their significance were transparent.
  99. For a film full of murder, jealousy and fatalism, Snow Angels feels curiously small and anecdotal, and its impact diminishes as it nears its terrible conclusion.

Top Trailers