The New York Times' Scores

For 9,972 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 The Camden 28
Lowest review score: 0 Hush
Score distribution:
9,972 movie reviews
  1. 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.
  2. Living proof that hard work and dedication can lead to professional and private gratification through the best and worst of times, Mr. Busch stands as solid source material for a film and for general inspiration.
  3. In the movie's cheapest, most exploitative gesture - just as it is about to run out of tricks - a snake slithers into the pine box in which Paul awakens bound and gagged, not knowing where he is. With that gimmick, the movie sacrifices its last shred of integrity.
  4. This is the sort of gallows humor that Hitchcock relished drawing out in cruelly amusing cat-and-mouse games, not to be taken too seriously. The same is true of Married Life. The murder plot is not to be taken any more literally than the lethal games of “Mr. and Mrs. Smith.”
  5. Captured mostly in gorgeous black and white, The Love We Make is alternately trite, touching, funny and fascinating.
  6. Evokes the flavor of the era just before the music business exploded into a mass-market juggernaut. The film's pleasures are the same ones offered by a sprawling, lavishly illustrated magazine spread.
  7. Ms. Binoche’s portrayal of Camille is one of the most wrenching performances she has given.
  8. Mr. Cusack demonstrates once again that he is Hollywood’s second-most-reliable nice guy, after Tom Hanks. Devoid of vanity, with no hidden agendas, he never strains to be likable. Good will, integrity and a native common sense ooze out of him.
  9. This dully structured film makes its points early and often, treading water before a purposely delayed big finish.
  10. The film's sobriety and carefully balanced arguments make it an exemplary piece of reporting, although its emotional heat rarely rises to a boil.
  11. 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.
  12. A clear-eyed and utterly ruthless dissection of the battle for Ohio in the months leading up to the 2004 presidential election.
  13. Fittingly enough, given that his great subject has always been himself, it is Mr. Roth who dominates the screen...He is, for 90 minutes, marvelous company — expansive, funny, generous and candid.
  14. Mr. Romero, manifesting a self-effacing demeanor and sensible humanity, is a most agreeable raconteur.
  15. The second half of the movie squanders suspense and momentum, solving its riddles by deflating them.
  16. On its own good-natured terms, Selena' is both pleasant to watch and instructive in familiarizing a movie audience with the Texan-Mexican borderland music known as Tejano.
  17. Dai Sijie's tender, touching adaptation of his own novel of the same title.
  18. A grave and quietly moving story about a South African girl of extraordinary character, does something that few painful dramas accomplish: It tells a tale of resilience without platitudes about the triumph of the human spirit or without false promises about an unclouded future.
  19. The sheer scale of the production, and the size of the venue, make the film interesting to watch.
  20. An inspiring demonstration of that old saw about necessity being the mother of (in this case, artistic) invention.
    • 65 Metascore
    • 60 Critic Score
    Something disturbing has happened to this story en route to the screen.
  21. A bleak, lyrical meditation on the frontier spirit and American machismo and its torments.
  22. Mr. Bana's Chopper is so scarily convincing that he makes you feel the eruptive force of each mood swing and the way his character's paranoia, egomania and conscience- stricken apologies are part of a volatile emotional cycle.
  23. 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
  24. Smoothly incorporates archival material, including scenes of Mr. Zinn's public appearances, interviews with Daniel Ellsberg, Noam Chomsky, Daniel Berrigan and Alice Walker (his student at Spelman). Matt Damon also reads well-chosen excerpts from Mr. Zinn's writing.
  25. 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.
  26. This kind of glance at history is a poor substitute for a hard, steady and expansive examination.
  27. An admirable documentary about an unusual concert tour.
  28. 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.

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