The New York Times' Scores

For 12,608 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 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Mr. Turner
Lowest review score: 0 Not Cool
Score distribution:
12608 movie reviews
  1. An energetic, visually attractive but ultimately irritating comedy-drama.
  2. Most of the time, Peggy Sue Got Married is either underdeveloped or simply not thought through. The way the film gets Peggy Sue into and out of the past is no less lame than the explanation for Bobby Ewing's recent resurrection in "Dallas." So much key information is missing or left uncertified or undramatized that the film appears to have been edited by termites.
  3. Though there is a lot to see in Inception, there is nothing that counts as genuine vision. Mr. Nolan’s idea of the mind is too literal, too logical, too rule-bound to allow the full measure of madness -- the risk of real confusion, of delirium, of ineffable ambiguity -- that this subject requires.
  4. I wanted to show how the underlying racism of society can transform a banal love story into a tragedy, Mr. Dumont has said. His film, for all its characters' uncommunicativeness, is too flat and unswerving to convey that idea surprisingly. But it does bring haunting power to the bitter, tongue-tied helplessness that sets its tragedy in motion.
  5. It’s a handsome package that never transcends the banality of its ideas, most of which involve how different people, including from Boulder, were affected by the case.
  6. Settles for being an atmospheric scenes-in-the-life biography of someone's most unforgettable character. It could have been so much more.
  7. The director, Iciar Bollain, who wrote the screenplay with Alicia Luna, invests Antonio with humanity, which would be more impressive if she had paid more attention to exploring the darker recesses of Pilar's inner life.
  8. Mendelsohn's fusion of science fiction and Chekhovian melancholy finds a fresh perspective on a familiar theme.
  9. Entertaining to watch - notwithstanding the scene in which Dae-su eats a live animal - which is a good thing, because there is not much to think about here, outside of the choreographed mayhem.
  10. There’s a morbid fascination inherent to documentaries like A Gray State, which is engrossing for the reasons it’s also unsatisfying: As Adam Shambour, a friend of Mr. Crowley’s, says, it’s a mystery that answers all the major questions except “Why?”
  11. Strong emotions — desperation, dread, desire — are indicated but not really communicated, and everything happens in a hazy atmosphere of humorless homage and exquisite good taste.
  12. The film falls short of explaining Mr. Ali, who, like many outspoken individuals, can stubbornly repel scrutiny, nor will it pacify the many who opposed his conscientious objections. But it also underlines one enduring quality: namely, that he probably couldn’t care less what people think.
  13. Cyrus is more finely tuned than their earlier movies ("The Puffy Chair," "Baghead"), but it shares a similar, almost aggressive lack of ambition. John doesn't work hard and neither do the Duplasses, who don't want their audiences to break a sweat either. That's too bad, because Cyrus is more interesting and fun when you're recoiling at the effrontery of its comedy and not its conventionality.
  14. Whatever the facts, Mr. Gracia’s messily structured film works best as a document of fear in today’s Ukraine and as a kind of ghost story about the Soviet Union.
  15. The film, by Justin Bare and Matthew Miele, would be better if it spent less time gushing about how great Mr. Benson is and more time confronting some of the questions his approach raises.
  16. Some limitations of adapting secondhand material show through in the uneven visual quality and diminished control over mood. Yet Mr. Herzog is openly inspired, as ever, by the rugged independence of these resourceful trappers, who seem stoic about everything but their faithful dogs.
    • 74 Metascore
    • 50 Critic Score
    While the screen flashes and flickers, little else is happening.
  17. It's also very well written by Jerry Juhl and Jack Burns and directed by James Frawley ("Kid Blue," "The Big Bus") with a comic touch that never becomes facetious.
  18. The movie is choppy and rushed — a bumper-car ride that somehow fits the rough-and-tumble era it recalls.
  19. The film may be one-sided, but if nothing else, it is a reminder that the “coal equals jobs” equation is a serious oversimplification.
  20. May not be fully satisfying as a documentary. But it has what any good movie needs: a star — the ever-game soprano Natalie Dessay.
  21. Mr. Bar-Lev has made an excellent documentary, but it would have been better if he had not made it at all.
  22. In Land and Shade, the setting holds more interest than the plot: a fable-like, elemental story that sketches its characters too faintly to develop much power.
  23. This film nimbly straddles biography and “Trek” valentine (Adam is a longtime television director), but also recounts the fraught if ultimately devoted ties between Adam and Leonard.
  24. The main problem with Such a Long Journey is its storytelling. There is simply too much happening.
  25. Narco Cultura feels like two short films sandwiched together to make a feature. One is a shallow pop-music documentary focusing on Mr. Quintero. The other is an equally superficial portrait of the embattled Ciudad Juárez, across the border from El Paso.
  26. So it looks as though this film simply makes more goose pimples than sense, which is rather surprising and disappointing for a picture with two such actresses, who are very good all the way through it, and produced and directed by the able Robert Wise.
  27. The Wildlike landscapes are exhilarating, but when the film works, it’s because of the interiors.
  28. Has the makings of a great documentary, but a subject as complex as this demands greater rigor, deeper intelligence and a sense of dialectics.
  29. Because of its shortcomings, (T)error serves as evidence of a broken system rather than an indictment of it. Yet such evidence is worrisome and points to a threat to civil rights.

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