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. Part stand-up performance, part behind-the-scenes chit-chat, Michael Blieden's indulgent and often numbingly slow documentary follows four semiknown comedians.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. If Deliver Us From Eva is amusing, it is not uproarious.
  10. A disjointed, sometimes fascinating mélange of moods, associations and effects.
  11. 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.
  12. Having introduced the two principals and had some fun with their antagonism, the film has nowhere to go.
  13. 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.
  14. 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.
  15. The action slowly builds and breaks down, with dance beats kicking in periodically. Not much resonates here; it’s all facile entertainment.
  16. 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.
  17. Yes, you may cry, but when tears are milked as they are here, the truer response should be rage.
  18. 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.
  19. Manages to have playful comic ingenuity of its own.
  20. 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.
  21. Consistently watchable, even when it drifts into dullness because Mr. Singh always gives you something to look at,
  22. 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.
  23. It is intermittently engrossing, though a little overextended for the deadpan approach that Mr. Bitomsky uses.
  24. Tossed by successive waves of floridity and biliousness, Food of Love finally washes up on the shores of camp.
  25. Begins with such a flurry of promise that it comes as a sharp disappointment when this drug-rehab comedy skids out of control.
  26. 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.
  27. Beyond the Sea, with all its gaping faults, is the genuine article. It succeeds in being deeply and sincerely insincere.
  28. Preposterous as it is, The Calling remains stubbornly suspenseful until near the end.
  29. 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."
  30. 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.

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