The New York Times' Scores

For 11,857 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Secret Sunshine
Lowest review score: 0 The Price of Air
Score distribution:
11857 movie reviews
  1. This often beautiful and too-often moribund, if exhaustingly frenetic, feature tends to be less energetic than the dead people waltzing through it.
  2. Mostly, it’s hagiography, with stars like Cher and Brian Wilson used as character witnesses to the players’ greatness.
  3. A would-be psychological thriller with next to no psychology and shivers instead of thrills, The Page Turner is a nervous-making, lightly amusing vengeance story that owes an obvious debt to Claude Chabrol.
  4. Mr. Branagh’s ascension into big-budget studio directing largely remains a mystery, and there’s little in Cinderella beyond its faces and gowns that captures the eye or the imagination.
  5. The film lacks either the immersive intensity that would galvanize emotions or a context that would provide enlightenment. Its brief tour of an unpleasant corner of reality feels less revelatory than voyeuristic.
  6. 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.
  7. A moody little number, The Eclipse makes good on its name by sometimes obscuring its themes and even point, which can have its charms though also severe drawbacks.
  8. Ms. Lazin succeeds in conjuring his presence and in showing how smart and likable he could be, but the film's perspective is frustratingly limited.
  9. Gradually becomes an echo chamber of personal dramas and exploits, not to mention propulsive soundtrack cues - all within a sport already nursing a penchant for self-documentation.
  10. The Uruguayan director Federico Veiroj’s leisurely comedy-drama The Apostate has its charms, though the story (and its hero) could benefit from a tarter approach.
  11. [Ms. Kroot's] banalizing documentary is self-defeating as it tags along with Mr. Takei and his wonky husband, Brad, on their busy daily schedule.
  12. This infectious little movie enriches understanding of the immigrant experience insofar as it translates one of its main forms of expression. Where the movie goes wrong, albeit down a forgivable path, is in the attempt to personalize its subject by means of biographical focus on an aspiring corrido composer.
  13. It takes great confidence to think of a second film before the first is even finished; either that, or it takes great nerve. In any case, Innerspace, which opens today at the Criterion and other theaters, has all the brashness of a hit, if not all the luster.
  14. The director and writer, Noah Buschel, has no fresh insights to add to the well-worn dynamic and doesn’t give the actors or the audience much to work with.
  15. This deflating documentary gives up its quest for answers too easily.
  16. The beauty of the landscape and the monk’s sweetness, humility and good humor evoke a plane of existence, at once elevated and austere, that is humbling to contemplate. That said, Unmistaken Child offers no scholarly perspective on Tibetan Buddhism and leaves fundamental questions unanswered.
  17. For all the hype and the inevitable box office bonanza, Terminator 3 is essentially a B movie, content to be loud, dumb and obvious.
  18. While she (Lopes-Curval) portrays the brittleness of their lives with lovely splashes of generosity, the lack of condescension doesn't change the fact that there's not much drama to be found in those very limitations; her characters don't do much beyond getting on one another's nerves.
  19. Mr. Solondz’s eye for the petty hypocrisies and delusions of American life has lost some of its sharpness, and he flails at flabby targets — avant-garde art, campus “political correctness” — in ways that sometimes carry an ugly whiff of racial and sexual bigotry.
  20. The film is too busy, and in some ways too gross, to sustain an effective atmosphere of dread. It tumbles into pastiche just when it should be swooning and sighing with earnest emotion.
  21. For a Marvel agnostic like me, the single most interesting thing about Age of Ultron is that you can sense that Mr. Whedon, having helped build a universal earnings machine with the first “Avengers,” has now struggled mightily, touchingly, to invest this behemoth with some life.
  22. This promisingly tragic tale is sunk by cartloads of context and an overbearing, slanted narration.
  23. There are some funny routines here, though Mr. Carpenter doesn't seem to have cared much about integrating or sustaining them. Mr. Carpenter makes his amateurishness unmistakable, especially when it comes to the film's four actors. Only one of them can act even crudely (fortunately, his is the largest role). The other three, neither photogenic nor particularly extroverted, look like well-meaning fraternity brothers helping out a pal with his class project.
  24. The body has its needs, and one of the problems with Diary of the Dead is that it doesn’t get into your body; it doesn’t shake you up, jolt you, make you shiver and squeak. It’s clever, or at least clever enough to keep you going and interested from start to finish. It just isn’t scary.
  25. What began as a reasonably hardheaded look at profound and rapid cultural change turns into a feel-good fantasy of salvation.
  26. As an outcry against the forcible conscription of children into armies around the world, Innocent Voices, is an honorable film. But as a balanced portrait of a tragic civil war, it is simplistic and opaque.
  27. In truth there isn’t much story here, or much insight either; the kind of alienated teenagers wandering through this film exist in movies far out of proportion to their number in real life.
  28. The impact of these stories is not in the words but in the way the mood, texture and the acting build each situation into a visually intense parable about the similarity of spiritual, erotic and aesthetic aspiration.
  29. Though leaving us with many more questions than answers, this well-intentioned blur of accusations, advertising clips and pink-washed events nevertheless deserves to be seen.
  30. Crimson Tide is better watched for its toy appeal and high-priced talent than for any real suspense over where Hunter's mutinous instincts will lead the story.
  31. Veering wildly between farce and suds, the movie never makes up its mind whether it's a spoof, a soap opera or a feminist pep talk.
  32. The subject matter makes The Tainted Veil much more visually interesting than many issue-oriented documentaries, though the thriller-like score goes too far in trying to counter dryness.
  33. Rabin, the Last Day is not interesting in spite of its flaws as a film. It’s interesting because of them, because of Mr. Gitai’s refusal or inability to clarify or even coherently narrate the history he addresses.
  34. For the non-Argentine audience, though, more context would have helped these wonderful songs and dances tell the nation’s story.
  35. Ray remains an unanswered, not especially compelling, question, but Mr. Keaton comes close to making you believe there’s soul to go with the fries and freneticism.
  36. Watching it is like receiving a hard slap in the face from someone who expects you to laugh it off, even though the sting lingers.
  37. While it’s no surprise that Mr. Lumet can spin a tale, these murky-looking, less-than-flattering sit-downs are irritatingly suboptimal, particularly given that he was so great at telling intimate stories about men in shadows.
  38. Instead of maintaining an effervescent fizzle, Phantom Boy too frequently sputters piffle.
  39. But Mr. Olmos's direction, from a screenplay by Floyd Mutrux and Desmond Nakano, is dark, slow and solemn, so much so that it diverts energy from the film's fundamental frankness. Violent as it is, American Me is seldom dramatic enough to bring its material to life.
  40. The Cold Lands feels as if it were just taking hold when it reaches the end of the road.
  41. The Great Museum, in comparison, feels like a cursory guided tour.
  42. It’s impossible not to be moved by Lili’s self-recognition and by her demand to be recognized by those who care most about her. But it’s also hard not to wish that The Danish Girl were a better movie, a more daring and emotionally open exploration of Lili’s emergence.
  43. Its cheery inoffensiveness, though, is in some ways disappointing.
  44. Flashy, random shifts of film speed and a true rogues' gallery of striking if one-note characters, do hold interest even if they have no real right to. The commercial aspects also deflect attention from the fact that this story has almost no center at all.
  45. Unforgivable isn't one of Mr. Téchiné's greatest achievements, but it's engrossing even when its increasingly populated story falters, tripped up by unpersuasive actions, connections and details.
  46. Mr. Chen, who teamed with Mr. Yen for the superior “Bodyguards and Assassins,” scatters references to Hong Kong martial arts classics. But while he has impressive fists of fury in both Mr. Yen and Mr. Wang, Kung Fu Killer lacks the brio and spice of its ancestors.
  47. Like its hero, Disorder has plenty of technique but not enough purpose.
  48. The problem with Elegy has nothing to do with faithfulness and everything to do with interpretation. The film is an overly polite take on a spiky, claustrophobic, insistently impolite novel.
  49. The film points toward a rich and complicated story that only partly makes it onto the screen.
  50. If the filmmakers opt to make only light statements about junk food, obesity and solid waste, they at least leave the audience sated on a single serving of inspired lunacy.
  51. Despite some pretty seasonal photography and evocative scenes of the nuns’ rigorous daily rituals, which involve many hours of prayer, The Monastery is a flighty, disorganized film with a blurry timeline and a wandering attention span.
  52. Mr. Gilady, a documentarian making his fiction feature debut as a writer and director, over-stacks the deck with this belabored if artfully shot story.
  53. This is the kind of movie the people in it might have made, which means that its revelatory power as an investigation of teenage life in America is limited.
  54. Probably the first romantic drama ever narrated by a smelly dead fish.
  55. A rare hybrid: an underdog sports picture that's also a transgender fairy tale.
  56. Simultaneously stirring and dispiriting.
  57. As heartening as it is to see a slum child tutored about vicious cycles of adversity and using the buzzword “partnership” with aplomb, the film comes to feel cut and dried.
  58. There are delights on display, but not many surprises...The BFG is a different kind of movie, and Mr. Rylance’s face and body have been enhanced and distorted by digital sorcery, but his unique blend of gravity and mischief imbues his fanciful character with a dimension of soul that the rest of the movie lacks.
    • The New York Times
  59. Some tragedies defy conventional representation. Unlike the play it documents, this documentary shows few signs of thinking outside the box.
  60. A cinematic tasting menu consisting entirely of amuse-bouches. After two hours of such tidbits the palate is sated. But if there is no need for a main course, you still leave feeling vaguely disappointed at not being served one.
  61. La Vie en Rose, which Mr. Dahan wrote as well as directed, has an intricate structure, which is a polite way of saying that it's a complete mess... In the end, as often happens in movies of this kind, La Vie en Rose is saved by Piaf herself.
  62. There are, once again, too many busy, uninterestingly staged battles that lean heavily on obvious, sometimes distracting digital sorcery. But there are also pacific, brooding interludes in which the actors — notably Mr. Freeman, an intensely appealing screen presence — remind you that there’s more to Middle-earth than clamor and struggle.
  63. A coming-of-adulthood story that improbably blends a plaintive drama with romantic longing and far-out science fiction.
  64. A documentary that purports to chronicle the sober and urgent work of those who ferret out human-rights abuses, but instead plays like a portrait of a rather glamorous marriage.
  65. However fascinating the source material, there's something less than cinematic about 90 minutes of watching people read letters in front of windows.
  66. The camera movements are graceful, almost ethereal, yet the objects themselves - with their impastos of organic and inorganic materials, their metaphoric resonances, historical allusions and intimations of war - feel unmistakably weighty.
  67. At least 30 minutes and several scams too long, the plot passes from amusing to confounding long before the final double-cross.
  68. Mr. Kim does show an abiding concern here for the unsubtle realities of human libido and cruelty, but he’s alarmingly tone-deaf as he makes his points, and shows disregard for his female characters as he uses them up.
  69. Directing his first feature, Christopher Browne shows flair and determination in getting the movie's pathos down pat, but he can't quite find enough that is pleasurable in its many reels.
  70. A pensive valentine to literacy programs and childhood idealism left in the ashes of broken families and an economically bifurcated society.
  71. Mr. McDowell manages and massages the mystery, even while he forgets to do much with the camera except periodically have it chase after someone. He can be frustratingly inattentive to the visual possibilities offered by the story.
  72. With its dearth of substance and its wandering focus, this is a middlebrow bodice-ripper posing as an epic that hasn’t the foggiest idea of what it wants to say.
  73. Mr. Hoffman enlivens Mission: Impossible III, which otherwise droops, done in both by the maudlin romance and by Mr. Abrams's inability to adapt his small-screen talent -- evident in his capacity as the television auteur behind "Alias" and "Lost" -- to a larger canvas.
  74. The setup’s clichés grow harder to ignore, despite a welcome mischievous streak and some bucolic imagery.
  75. Like so many political films of this type made for British television, this documentary contains more information than analysis, not to mention predictably spooky music.
  76. Mr. Webb's Spider-Man movie works only because he keeps the whole package, at least until the requisite final blowout, tethered to his two appealing leads.
  77. Only occasionally funny and not at all illuminating about the rich world of a cappella singing.
  78. An alternately effortless and forced French-language diversion.
  79. I can’t, in the end (all appearances to the contrary), judge Mr. Beavan or this film too severely. Making an impact is easy. Making a difference is hard.
  80. The movie is an awkward cross between a domestic comedy and a marital tragedy that's laced with laughs, soggy with tears and burdened by a booming, blunt soundtrack that amplifies every narrative beat.
  81. When the going gets weird, Hunter S. Thompson used to say, the weird turn pro, but these filmmakers never transcend their own amateurism. They turn what could have been a brilliant exploration of the hidden corners of contemporary reality into an opportunity for gawking and condescension.
  82. The movie is a little claustrophobic -- a marathon of conference calls, frenzied pointing and clicking, and office pep talks.
  83. Retooled into a sleek pop fable that doesn't bother to connect all its dots, the movie aspires to fuse the mystical intellectual gamesmanship of "2001: A Space Odyssey" with the love-beyond-the-grave romantic schmaltz of "Titanic," without losing its cool. It's a tricky balancing act that doesn't quite come off.
  84. Quietly inflammatory film.
  85. At times tender and at others unflinchingly brutal, this small drama of innocence and temptation could have aimed much higher.
  86. Plots and subplots are handled with clumsy expediency, and themes that might connect this movie with the larger Lucasfilm mythos aren’t allowed to develop. You’re left wanting both more and less.
  87. Tremors wants to be funny, but it spends too much time winking at the audience. More than anything else, it looks like the sort of movie that might have been put together so that tourists visiting Universal Studios could see a movie being made.
  88. Ms. Olson’s images are often captivating, but too often undercut by the aforementioned aspiring-to-the-dialectical voice-over, which is awkwardly written, and delivered with a lack of affect that grows tedious over the course of an hour.
  89. Throughout, the filmmakers live up to the movie’s title. But as the story comes to a close, they opt to wrap it in comforting cliché, and they turn a miserable but credible viewing experience into a confounding one.
  90. This dully structured film makes its points early and often, treading water before a purposely delayed big finish.
  91. As a five-minute clip on YouTube, this spoof might be a small masterpiece. As a feature film, it’s both too much and not nearly enough.
  92. The second half of the movie squanders suspense and momentum, solving its riddles by deflating them.
  93. The sheer scale of the production, and the size of the venue, make the film interesting to watch.
    • 65 Metascore
    • 60 Critic Score
    Something disturbing has happened to this story en route to the screen.
  94. In much the way that Raymond stays detached, the performance seems to exist outside the film but, instead of illuminating Rain Man, it upstages the work of everyone else involved. [16 Dec 1988, p.C12]
    • The New York Times
  95. Unlike most movie love stories, Closer does have the virtue of unpredictability. The problem is that, while parts are provocative and forceful, the film as a whole collapses into a welter of misplaced intensity.
    • 65 Metascore
    • 60 Critic Score
    In the end, the characters seem less archetypal than vague, and aside from its sophisticated presentation, Alone With Her doesn't differ all that much from its template: the late-’80s and early-’90s Fill-In-the-Blanks-From-Hell movies that followed in the wake of "Fatal Attraction," many of whose elements (including the heroine’s inquisitive, doomed best friend) Mr. Nicholas revives almost verbatim.
  96. This kind of glance at history is a poor substitute for a hard, steady and expansive examination.
  97. If the film doesn't measure up as a piece of historical scholarship, it does manage to be a rather touching exploration of the troupe's life cycle: achieving notoriety, then being torn apart by fame, then being destroyed by forces beyond its control.
  98. West, for all its intensity, becomes too bogged down in detail to be as strong as it might have been.

Top Trailers