The New York Times' Scores

For 11,406 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Affliction
Lowest review score: 0 Hemingway's Garden of Eden
Score distribution:
11406 movie reviews
  1. Though less reassuring and not as dramatically coherent as "Hotel Rwanda," it still packs a hard punch.
  2. Bagdad Cafe is too slow-paced to work as a comedy, and its screenplay manages simultaneously to be both shapeless and pat.
  3. Keeps its claws carefully retracted. That's probably for the best, since the documentary still leaves a bitter aftertaste.
  4. The overall effect is one of lulling beauty and immersion in the landscape and culture - certainly enough to carry you through the film - but also an irritating sensation of being led by the nose through Ms. Álvarez's highly aestheticized ruminations.
  5. By and large Mr. Hoch's portrayals are as harsh and authentic as a police photograph, but an occasional touch of sentimentality creeps in.
  6. Black Book works only if you take it for the pulpiest of fiction, not a historical gloss, its stated claims to "true events" notwithstanding.
  7. Largely a conventional, wan affair, despite its art-cinema flourishes.
  8. Remote Area Medical, a documentary about the nonprofit organization of that name, certainly shows you what they look like, in blunt, tooth-decaying detail. But beyond that, it maddeningly refuses to take a stand or explore the questions it raises.
  9. For all its sensitivity to the subject, The Farewell Party makes a number of tonal missteps of which the most glaring is the insertion of a musical number that upsets the movie’s otherwise sensible balance between the comedic and the morbid.
  10. Instead of seriously investigating corruption, money laundering and the buying of politicians, Manda Bala would rather spend its time showing slimy brown frogs slithering over one another as they are dumped from one container into another.
  11. Mr. Mahurin is obviously enchanted by his subject, but he never gets past his delight to say anything of real, sustaining interest.
  12. It's this compulsion to solder melancholy to weightlessness that constantly trips up the movie; Mr. Kelly doesn't have the assurance to pull off such a difficult feat.
  13. [A] touching love story and soggy family melodrama.
  14. Watching this reasonably funny, professionally assembled calculation is a little like snuggling up in front of the television with a mug of hot cocoa and a warm blanket. Those who prefer their drinks and recreation spiked would do well to look elsewhere.
  15. Although Ms. Rohrwacher captures Mark’s uncertain, shifting physicality, the movie doesn’t always succeed in getting inside the character’s head.
  16. Thin but pleasantly diverting documentary
  17. A sedate chronicle of the highs and lows of the environmental movement, Earth Days is less a rousing call to action than a bittersweet stroll down memory lane.
  18. It’s fortunate that the cartoons on display are such instantly satisfying works of popular genius, because, despite its subject, “Herblock” shows how even an edifying talking-heads documentary bumps up against the limitations of the format.
  19. This nonjudgmental documentary moves between New York City and the rain forests of the Central African Republic, where Mr. Sarno primarily lives. Both places are tugs of war between abundance and lack.
  20. There are some amusing moments, to be sure, and some touching ones as well, but the film is less interested in ideas or emotions than in illusions. It produces an aura of suspense without a sense of real risk, and offers devotees of fashion an appealing, shallow fantasy of inside knowledge.
  21. Before our eyes, Laura’s lengthening limbs and deepening introspection become the point of a movie that begins with a child and ends with a young woman.
    • 70 Metascore
    • 50 Critic Score
    Mr. Cheney and Mr. Ellis are so pleasantly nondescript that they make no particular impression. As a result, all the time spent on autobiographical detail and personal banter hampers the film’s urgency, and plays like an awkward attempt to justify a format that the filmmakers are too self-effacing to exploit.
  22. The documentary, directed by Jeremy Coon and Tim Skousen, revisits those tender years and what came after with a lot of obvious enthusiasm and not an ounce of critical distance, as if they too were just two more friends playing along.
  23. This is a dumb movie pretending to be smart, even as it wants you to believe the opposite. Still, dumb can be fun.
  24. Whatever minor entertainment there is to be gleaned from Mahowny -- set in the early 1980's, mostly in Toronto -- comes in bits and pieces.
  25. If it's all very clever for a teen-age film, it also feels terribly forced.
  26. Ms. Wood's performance bounces with mood swings from anxiety to exhilaration in a movie with moments so realistically painted that your eyes will sting from the fumes.
  27. Seems to just drift to a close rather than pronounce an end. This can be a result of wrestling with a daunting subject and not being up to its demands.
  28. Mr. Balagueró is so overtaken by his villain that he becomes like César, displaying an eagerness to play the role of tormentor, which kills both the movie's pleasure and its flickering political subtext.
  29. If the film's sentiments about the madness of war are impeccably high-minded, why then does Joyeux Noël, an Oscar nominee for best foreign-language film, feel as squishy and vague as a handsome greeting card declaring peace on earth?

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