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 Tuesday, After Christmas
Lowest review score: 0 The Emoji Movie
Score distribution:
12236 movie reviews
  1. JFK
    The movie, which is simultaneously arrogant and timorous, has been unable to separate the important material from the merely colorful.
  2. Amusing but extremely derivative.
  3. There is surprisingly little emotional amplitude in the film.
  4. Yet this film, for all its apparent immediacy, winds up less affecting than a more poetic or roundabout approach might be.
  5. This is a film unafraid to look at [Burden's] acts, but timid when approaching his ideas.
  6. A certain amount of work is required to stitch together a sense of the plot, but as is often the case in Zulawski’s films, the story is less the point than an excuse, a loose temporal conceit holding together flights of visual invention, verbal extravagance and male and female nudity.
  7. Though not terribly nuanced, a bit muddled and lacking certain perspectives, “Zipper” drives home the fragile identity of even the city’s signature locales and the alarming cultural myopia of much redevelopment.
  8. It's hard to see what the point is beyond the usual grandiosity that comes whenever B-movie material is pumped up with ambition and money.
  9. Mr. Blake's screenplay and Mr. Costner's direction of it are, with the exception of three memorable sequences, commonplace. The film is painstakingly composed of small details of frontier and tribal life that should be riveting. Most of the time they aren't.
  10. Mr. Cheney’s movie, while teasing at times, does its celebrating and debunking in mild-mannered fashion, making points without seeming to try to score them.
  11. Mr. Martin and Mr. Candy are an easy twosome to watch even with marginal material, though, and the film is never worse than slow.
  12. Even as Ms. Hall’s performance makes you believe that something profound is at stake, the movie noncommittally nibbles at the edge of larger meaning, nodding at current events.
  13. It’s hard to emerge from “Into Darkness” without a feeling of disappointment, even betrayal.
  14. It’s hard to imagine what message children will take away from this film other than that monkeys are just like characters in a fictional Disney movie, which they are not.
  15. It's just a movie with no particular reason for existing, a flashy, trifling throwaway whose surface cleverness masks a self-infatuated credulity.
  16. "Author” is most interesting — and least self-aware — as a study in the gullibility and narcissism of the celebrity class.
  17. By ignoring Israeli voices and focusing only on the immigrants, Mr. Haar has produced a documentary filled with immediacy but free of analysis, a fascinating but ultimately unenlightening record of their plight.
  18. A feel-good and slightly bad comedy-drama about a young man's fight against cancer, aims to put a tear in your eye and a sob in your throat, if not for long.
  19. Like his (Abrams) previous features, "Mission: Impossible III" and "Star Trek," Super 8 is an enticing package without much inside.
  20. Puts a bitterly ironic spin on the Army's best-known recruiting slogan, "Be all that you can be."
  21. The movie is an amusing ball of fluff that refuses to judge its characters’ amoral high jinks. Winking at the vanity of wealthy voluptuaries and hustlers playing games of tainted love, it heaves a sigh and says welcome to the human comedy.
  22. It is possible to appreciate Mr. Zulawski’s perverse ingenuity, and to miss his eye and voice, without quite succumbing to the strenuous charms and overcooked provocations of Cosmos.
  23. Mr. Refn may yet have justification for boasting about his natural talent. There is one magnificent scene in Pusher... Maybe Mr. Refn's next film will take us into that emotional territory.
  24. The movie can -- indeed, should -- be intellectually rejected, but you can't quite banish it from your mind.
  25. The sweep and energy of historical drama are notably missing from this grim, intense, mordantly comic little film.
  26. The film's late swerves into melodrama and the neighboring region of farce feel panicky and pandering. The subtlety of the performances - Ms. DeWitt's in particular - is sacrificed for easy laughs, shallow tears and a coy trick ending. Just when it was starting to get interesting.
  27. The forcefulness and mystery of Mr. Melville's direction often generate an urgency that keeps the film from feeling vague. [30 Nov. 1979]
  28. How can visual pleasure communicate existential misery? It is a real and interesting challenge, and if Shame falls short of meeting it, the seriousness of its effort is hard to deny.
  29. Yes, The Theory of Everything has a different emphasis. But like so many cinematic lives of the famous, it loses track of the source of its subject’s fame.
  30. It's all so seamy, sordid, lurid and shocking! And dull, despite a noirish gloss of wide-angle cinematography and a jaundiced, smoggy color scheme.

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