The New York Times' Scores

For 12,236 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 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Jafar Panahi's Taxi
Lowest review score: 0 You Again
Score distribution:
12236 movie reviews
  1. Everything is supersized and preposterous, but Mr. Chu, with two films in the “Step Up” franchise under his belt, is undaunted by crowds and confusion.
  2. The dialogue may be crisply idiomatic, but there's finally nothing realistic about the speed with which the characters hurtle through their mood swings and power plays.
    • 46 Metascore
    • 60 Critic Score
    There is the language to consider, but despite the film's slow start, small children should take to the idea of communicating with animals.
  3. What makes the journey compelling is the relaxed chemistry between the young actors and an insistently apprehensive tone that pervades even the most prosaic exchanges.
  4. The lives of Olivia, Tomo, Milot and Joey converge in a climactic chase sequence as frantic as a Keystone Cops movie. By this time, grim realism has curdled into bleakly absurdist farce.
  5. The only sketch that’s inspired is the final one.
  6. At two hours and 14 minutes, the movie is a lot longer than it needs to be. On the other hand, Elliott (whose beeps and bomps and chomping sounds are supplied by Charlie Callas) is very sweet and emotive, and you don't often see children's musicals as ambitious as this one any more.
  7. To say that this live-action comic book lives up to Mr. Lucas's description is not a wholehearted endorsement. Are teenage boys as naïve today as they were 60 or more years ago? And much of the dialogue is groaningly clunky. But so it was back then.
  8. Though it generates its share of unintentional giggles, Desert Wind does manage to take us to a seldom-visited place: the hidden corners of the straight male mind.
  9. An awkward merger of wide-eyed innocence and political unrest, Derrick Borte’s sweet, almost sugary picture wants to rock but never finds the gumption.
  10. Part stand-up performance, part behind-the-scenes chit-chat, Michael Blieden's indulgent and often numbingly slow documentary follows four semiknown comedians.
  11. The cast is surely capable of sharper comedy, but Will Raee, who directed, doesn’t get everyone on the same page. Ms. Cardellini and Ms. Schaal offer cardboard caricatures, while Mr. Ulrich, among others, plays it mostly straight.
  12. Had John Cassavetes directed “Love Story,” it might have turned out looking and sounding something like Mercy, a portrait of a sub-Mailer-like literary pugilist and the woman (named Mercy) who wins his heart. Odd as that juxtaposition may seem, it’s not a bad mix.
  13. The director, R. J. Cutler, whose previous work has mostly been in big- and small-screen documentaries, has a way of underplaying large feelings and amplifying subtle shifts of mood.
  14. Aside from appreciating the movie's sturdy performances, my reaction to this satire of the middle-class, all-German family swung from revulsion to mystification.
  15. Lovingly shot on location in the Italian neighborhoods of Providence, this comfortably predictable film has its pleasures, most notably a dryly funny Adrienne Barbeau as the brothers' hip, hard-drinking Aunt Lidia.
  16. Mr. Bale, turning in a respectable if oddly chipper performance under the circumstances, has the unfortunate task of playing a character who doesn't really add up.
  17. There is a reason formulas endure: they work. And even under these threadbare circumstances, the developing friendship between the two women carries a faint but effective dramatic charge.
  18. If Deliver Us From Eva is amusing, it is not uproarious.
  19. A disjointed, sometimes fascinating mélange of moods, associations and effects.
  20. Because The Nanny Diaries is essentially a two-character story whose supporting players are wooden props, it would help if the actors playing the two were evenly matched. But Ms. Johansson’s Annie, who narrates the movie in a glum, plodding voice, is a leaden screen presence, devoid of charm and humor.
  21. Having introduced the two principals and had some fun with their antagonism, the film has nowhere to go.
  22. How could a movie starring Hugh Laurie, Oliver Platt, Allison Janney and Catherine Keener go so wrong? That is the mystery behind The Oranges, a dysfunctional-family comedy - excuse the cliché - that backs away in terror from its potentially explosive subject.
  23. Most of the humor falls flat. One of the film's little joys is John Waters in a small part as a sleazy photographer who ends up having his face melted off with sulfuric acid.
  24. The action slowly builds and breaks down, with dance beats kicking in periodically. Not much resonates here; it’s all facile entertainment.
  25. Ashby is a movie divided against itself. It’s a comedy afraid of being too funny lest its macho sentimentality seem even more ridiculous than it is, and a drama afraid of appearing too serious lest you dismiss it as hogwash.
  26. Yes, you may cry, but when tears are milked as they are here, the truer response should be rage.
  27. While Rebel in the Rye isn’t quite as bad as its pile-of-bricks-clunky title suggests, it’s both simple- and literal-minded, less concerned with Salinger’s consciousness or sensibility than with his ostensible ontological status as a Tortured Creative Giant.
  28. Manages to have playful comic ingenuity of its own.
  29. The depictions of cosmopolitan Germans and mostly avaricious, bestial Czechs are likely to stir strong emotions among some viewers, but over all Habermann is more potboiler than political or historical statement.
  30. Consistently watchable, even when it drifts into dullness because Mr. Singh always gives you something to look at,
  31. A good deal of anger washes through this acerbic portrait of the movie business in histrionically high gear. But so does a lot of sentimentality, and as the sentimentality quotient rises, it erodes the film's credibility.
  32. It is intermittently engrossing, though a little overextended for the deadpan approach that Mr. Bitomsky uses.
  33. Tossed by successive waves of floridity and biliousness, Food of Love finally washes up on the shores of camp.
  34. Begins with such a flurry of promise that it comes as a sharp disappointment when this drug-rehab comedy skids out of control.
  35. The actor's (Jamie Foxx) deft touch lends the flighty story of mistaken identities and romantic mix-ups among mostly African-American characters in Los Angeles the kind of saucy bounce that Cary Grant lent to similar roles six decades ago.
  36. Beyond the Sea, with all its gaping faults, is the genuine article. It succeeds in being deeply and sincerely insincere.
  37. Preposterous as it is, The Calling remains stubbornly suspenseful until near the end.
  38. At the sweet heart of this silly film is a determination to upend the clichés and assumptions applied to the population we condescendingly label "special."
  39. While Mr. Molina and Mr. Cage supply a measure of well-compensated eccentricity, their labors ultimately serve to emphasize the grinding mediocrity of the enterprise.
  40. As the movie glides along, it may not elicit explosive laughter, but it plants a steady smile on your face and doesn't leave you feeling molested. If that's another way of saying Johnny English Reborn is old-fashioned, so be it.
    • 46 Metascore
    • 60 Critic Score
    Pop memories are short. If the world conjured by Hunky Dory is sweetly appealing, it has all the pertinence of a dream half-remembered from long ago.
  41. A limp attempt to wed a romantic comedy to a buddy comedy, largely because the filmmakers see women as visitors from another planet, which is more or less what they now are in Hollywood.
  42. I suppose this went down easily enough for me because I grew up with this kind of stuff, and can surrender to it as a kind of cinematic comfort food. But still. For those not so inclined, the entertainment value could conceivably be derived from the brisk, no-nonsense direction by Michael Apted, and the talents of what they used to call “an all-star cast”.
  43. The idea has anarchic possibilities, but the film itself is awfully tame.
  44. A lot of attention has gone into the film's video games, computer imagery and costumes, to the point where simply watching these artifacts is half the fun...But eventually Hackers turns tedious, perhaps not realizing that an audience can get tired of the same old equations floating in cyberspace.
  45. Mr. Schaeffer takes his time cryptically setting up his characters' situations in the film. When they finally start moving toward one another and revealing their secrets, the revelations flow like diet soda.
  46. It's when The Deal leaves the corporate offices behind that the story turns into a bogus, convoluted mess. Once the Russian mafia, personified by Angie Harmon playing an evil seductress with a terrible Russian accent, rears its head, the ballgame is over.
  47. If you’re going to make a romantic comedy called She’s Out of My League about a schlubby nice guy and a pneumatic blonde, the last thing you want is for the audience to be left thinking: “He’s right. She’s way out of his league.”
  48. The best antidote to all the glowering and posing is Eva Green: As Ava, the titular dame, she’s nothing short of a godsend.
  49. Luckily there is an element of broad, brawny camp that prevents King Arthur from being a complete drag.
  50. Grounding the zaniness is the chemistry between its two likable stars. Beneath their crusty eccentricities, Max and John are teen-agers at heart, a Wayne and Garth for the "Modern Maturity" set. As Max, his leathery face beaming with pleasure, might put it: "Holy moley, is this a dumb movie!" But it is also fun.
  51. The spare, enjoyable Naked Fame, by the documentarian Chris Long, suggests that today's pornography performers enjoy better life options than those revisited in "Inside Deep Throat."
  52. All four actresses have a natural chemistry and manage to give some inner dimensions to these otherwise archetypal characters.
  53. In a movie as happy to resurrect characters as rub them out, nothing is of consequence, and the glibness grows numbing.
  54. It is also possible that the problem lies not with Mr. Desplechin but with Ms. Phoenix. Her Esther is a fascinating mixture of passivity and ferocity, but it's not clear that she has the range to show both sides of the character.
  55. Packs a lot into one night, but it's wearying. It's like a kid determined to show you every toy in his room, and there's nowhere to escape.
  56. The film shows off Ms. Bullock to amusing if overly frenetic advantage. It also leaves Affleck without enough of a Cary Grant aura to play his wimpier character with style.
  57. Inoffensive if uninspired.
  58. This sweet-natured but plodding adaptation of a young-adult novel by Carl Hiaasen could have used a little less broad satire of corporate greed and a few more, well, owls.
  59. This mawkish rom-com mines class, ethnic and ambulatory boundaries for cheap laughs and cheap-looking visuals.
  60. When not in song, the words that come out of the frustratingly undefined characters' mouths are mostly awkward and contribute to the film's overall incoherent narrative.
  61. Fortunately, Mr. Spicer’s earnest performance bolsters many of the weaker spots in Mr. Shoulberg’s script.
  62. 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.
  63. The Whole Truth plays like an especially claustrophobic courtroom procedural, drably photographed and generically framed.
  64. A potentially strong cast makes its way in deadly earnest through material that's often better suited to a Monty Python skit.
  65. I certainly can't support any calls for boycotting or protesting this busy, trivial, inoffensive film. Which is not to say I'm recommending you go see it.
  66. The star shines, but the movie is hard to watch.
    • 46 Metascore
    • 60 Critic Score
    It’s a cut above other films of its type because every scene is packed with details like those pliers -- touches that suggest that the film’s writer and director, Malcolm D. Lee (“The Best Man”), is working overtime to smuggle life into formula.
  67. Bluntly downbeat.
  68. If an Olympic competition for overplotted movie is ever held, Circus seems a likely contender for the gold.
  69. American Chai may not tell a new story, but in its understanding, often funny way, it tells a story whose restatement is validated by the changing composition of the nation.
  70. Even more than Jerry Lewis, Robin Williams or Pee-wee Herman, Mr. Carrey, now 41 (pretty old for an overgrown kid), sustains a maniacal energy that explodes off the screen in blinding electrical zaps. Those jolts don't always feel pleasant.
  71. Probably the worst thing you can say about Hollywood Ending is that it has one: it turns out that Mr. Allen wasn't being ironic after all, he just made a comedy that feels ironclad.
  72. For all its visual zaniness and its aura of psychic imbalance, the movie, which won the Discovery Award at the Toronto International Film Festival last year, stays on the surface and never locates its own heart of darkness.
  73. Doesn't add much to the coming-out genre, as it has been established in countless Sundance competition films and made-for-television movies.
  74. Self-conscious but nicely structured drama.
  75. Saw
    Does a better-than-average job of conveying the panic and helplessness of men terrorized by a sadist in a degrading environment, but it is still not especially scary.
  76. Deery's modest drama is one big, obvious argument against the vow of celibacy for Roman Catholic priests, but it has heart.
  77. Ultimately feels like a clinical study without wider resonance.
  78. Two groups of people should probably not see 95 Miles to Go. Unfortunately, they're the two groups that were probably envisioned as the film's core constituencies: stand-up comics and Ray Romano fans.
  79. This is a one-dimensional, sometimes illogical film, but it's certainly good-looking.
  80. Everyone’s sorry about something in Forgiveness, a glum drama about the way repentance can do more damage than the sin that precedes it.
  81. Snow Blind calls itself a documentary, but it's really all about selling the product of snowboarding; it never stops feeling like the in-house channel on a ski-lodge television.
  82. Apparently started out as just another soft-core item, or what the Japanese call a pink film, but evolved into something more ambitious, sort of. Certainly it doesn’t look or play out like the typical American pay-TV fodder.
    • tbd Metascore
    • 50 Critic Score
    Mr. Oliveira’s script talks itself hoarse, but his images sing.
  83. Ms. Dixit has been gone from the screen for five years, long enough for a new crop of stars to emerge and for Aaja Nachle, her modest new film, to be a comeback vehicle.
    • 46 Metascore
    • 50 Critic Score
    Except for Ms. Lange’s silent, expressive close-ups, which render flashbacks unnecessary, the women’s journey is aesthetically and dramatically unremarkable.
  84. Tells a colorful if conventional tale of dysfunctional Americans abroad. The misadventures of Jake and Oliver play off against the conflicted sympathies of the locals, who simultaneously resent, enjoy, prosper from and exploit the tourist scene.
  85. Relies less on the novelty of its premise than on the positioning of solid actors in minor roles (including Melissa Leo and Martin Donovan as the tortured parents of a murdered child) and the intelligence of its star.
  86. This odd, unsuccessful movie, written and directed by Piyush Jha, is too rigged to have any broader implications about the bloody standoff in Kashmir between militants and the Indian Army.
  87. The film does a pretty good job of conveying the bleakness and pointlessness Eva and her fellow mutants feel, but it's as if Ms. Trachinger were reluctant to take the premise any deeper for fear of being accused of imitating "Memento" or "Groundhog Day" or any number of other trapped-in-time films.
    • 46 Metascore
    • 40 Critic Score
    Rosenmeier's tendency to insert herself at the center of the story - awkwardly drifting into the frame as she interviews local social workers, carefully inspecting institutions as if she were a high-profile ambassador - at first seems slightly immodest. Gradually, it suggests a deeply unsettling level of self-involvement.
  88. A mix of gently outraged populism and low-powered romantic comedy, Vishal Bhardwaj's Matru ki Bijlee ka Mandola might have been better with a chunk lopped off its two-and-a-half-hour runtime.
  89. The movie covers almost three decades choppily. But Mr. Camarago and Mr. Miguel convey the stubborn commitment that made the brothers so revered by the tribes.
  90. If you’re relatively easily scared or are in a theater full of people who are, the film might be good for a few screams. But only if you’re the patient sort. It takes almost an hour to get to the good stuff.
  91. There are so many red herrings and plot twists, such a dense barrage of flashbacks and quick cuts, that you may find yourself as rattled and breathless as Ig himself. And a bit let down at the end, when all the noise, color and energy resolve into a basic whodunit decked out in weak special effects and spiritual swamp gas.
  92. Digressions involving suicide, child abuse, immigration and unions muddy the film’s meaning rather than illuminate it.
  93. The droll, shape-shifting Two Shots Fired, the newest movie from the Argentine filmmaker Martín Rejtman (the subject of a current retrospective at the Film Society of Lincoln Center), accomplishes the strange feat of constantly thwarting expectations without ever varying its tone or moving the needle of excitement.
  94. Catherine Lutes’s camera catches magnificent views of Revelstoke, British Columbia, that are worth watching as you wait 18 minutes for the next semi-interesting scene.

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