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 Chan Is Missing
Lowest review score: 0 Alien Girl
Score distribution:
12236 movie reviews
  1. In the same way that a crossword puzzle tickles the mind without asking to be taken as literature, November plays games for the sake of game-playing. It also has a pretentious streak.
  2. Think of 44 Inch Chest as a piece of chamber music and you can compensate for the thinness of its story and the lack of visual distinction.
  3. It's not heaven, exactly, but after the purgatory of the late summer movie season, it may be close enough.
  4. Throughout the movie, you have the feeling of being dragged along on an impromptu journey by a filmmaker who is traveling without the benefit of a GPS device.
  5. The obstacle that the director Joe Carnahan and his colleagues failed to clear was finding the right self-mocking tone for a movie that was, by the looks of it, too expensive to risk real laughs.
  6. In essence, this is a string of intermittently interesting, occasionally funny, periodically wacky if rarely disturbing, sometimes touching though fairly boring and poorly shot human-interest stories.
  7. The problem with these my-family-was-messed-up-and-I need-to-share projects is that they require an audience of complete strangers to give a damn. And while we sometimes do, it’s usually because the material is inherently compelling (“Tarnation”) or the filmmaking uncovers truths beyond the template of family therapy (“51 Birch Street”). Sadly, Phyllis and Harold fulfills neither requirement.
  8. At the Devil’s Door is reasonably absorbing but never scary or satirically sharp (despite references to mortgages and foreclosures). It mostly settles for inducing sensation.
  9. False and condescending films in this genre are nothing new, but Dangerous Minds steamrollers its way over some real talent.
  10. Has the scruffy charm you expect from this kind of picture, and some admirable feminist pluck. But the story is -- forgive me -- a little thin, and the filmmaking clumsy and rushed.
  11. A satire of contemporary sexual warfare that leaves you smiling but also stung.
  12. Blown up way past television-set size, the animated film's squiggly lines and rushed renditions are pale and blurry. This may be the first cartoon ever to look as if it were being shown on the projection television screen of a sports bar.
  13. A pleasant, good-natured picture that struggles, gallantly if vainly, to recapture the style and sensibility of a studio musical on the severely limited budget of an independent film.
  14. Ms. Olsen and the more persuasive Mr. Isaac may generate heat, but their performances and the filmmaking lack the frenzy that might explain how these two crazy kids turned into murderous fiends.
  15. Mr. Morel's predilection for murky, nearly pitch-black cinematography and spare, elliptical dialogue indicates his debt to filmmakers like François Ozon and Claire Denis, but Three Dancing Slaves lacks the psychological precision of Mr. Ozon's or Ms. Denis's work.
  16. The male characters here are too thinly developed for this to be a top-notch survival thriller, but Ms. Aselton knows how to get the pulse pounding.
  17. The message about race relations in America conveyed by The Tenants, a small, serious, but choppy and psychologically cauterized screen adaptation of Bernard Malamud's 1971 novel, is dire.
  18. A heavily padded, thinly conceived, well-meaning movie.
  19. Ms. Ryder, playing the least sympathetic character with unflinching dignity and candor, is in many ways the reason The Dilemma works as well as it does.
  20. Typhoon aims high but misses the emotional mark in most instances, resulting in some awkward melodramatics. Even so, it flourishes during its well-executed action sequences and commands attention almost instantaneously, though, in the end, it will be forgotten just as quickly.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. The only sketch that’s inspired is the final one.
  26. 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.
  27. 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.
  28. 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.
  29. 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.

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