The New York Times' Scores

For 11,559 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 We Are the Best!
Lowest review score: 0 A Little Bit of Heaven
Score distribution:
11559 movie reviews
  1. Though finally overwhelmed by a preening lassitude, Hotel is never less than fascinating.
  2. On its own, apart from whatever beliefs a viewer might bring to it, The Passion of the Christ never provides a clear sense of what all of this bloodshed was for, an inconclusiveness that is Mr. Gibson's most serious artistic failure.
  3. Offers a view of pornography that is nonjudgmental, even celebratory, but at the same time its premise -- that Danielle must be rescued from the shame and degradation of her old job -- suggests a more traditional, disapproving point of view. Instead of addressing this contradiction, the movie is happy to wallow in it, which would be fine if it had any real pleasure to offer.
  4. This aggressively whimsical fairy tale about a pair of grown-up orphans who rob from the rich to give to the poor (themselves!) and end up living happily ever after darts forward so quickly that several major plot turns are dispensed with in 10 or 15 seconds of babble.
  5. Tricked up with an elaborate flashback structure, subtitled dialogue in three languages and as many gratuitous aesthetic touches as the traffic will bear, Proteus emerges as a heavy, pretentious and derivative film.
  6. It’s a chronically underachieving movie, but relatively amusing in its quaint wish fulfillment.
  7. Whatever investigation it’s attempting, the movie is leaden in its pacing — the first 15 minutes feel like an hour — and its constricted shooting style, practically all hand-held almost close-ups, is transparent in its contrivance of realism.
  8. Whenever faced with another puerile movie ostensibly about women, I play a little game called What Would Thelma and Louise Do?
  9. There is very little that is tantalizing or suspenseful. The feeling of revelation is gone, and many of the teasing implications of "Reloaded" have been abandoned.
  10. Less a documentary than a glittering souvenir, but it’s still a record of a legend.
  11. The meek, mopey comedy In the Land of Women is the film equivalent of a sensitive emo band with one foot in alternative rock and the other in the squishy pop mainstream: a softer, fuzzier "Garden State."
  12. As the movie lurches along by fits and starts, toggling between the little Nantucket room and the great watery world, it becomes apparent that the filmmakers have no idea how to reconcile not just two parallel stories but also the past and our contemporary age.
  13. The movie deserves -- and is likely to win -- a devoted cult following, despite its flaws.
  14. As cavalier with structure as ever, Mr. Jaglom surrounds himself with familiars who embrace his cheery, disorderly style.
  15. Mr. Caranfil never manages to negotiate the thickets of ambiguity, tragedy and bleak comedy, although the problem may be that someone behind the scenes just didn’t see the profit in a no-exit narrative.
  16. Ms. Bagnall’s baffling story about a trio of oddball outsiders is stricken with a galloping case of romantic whimsy and falls short of its serio-comic aspirations.
  17. Ms. Diaz has found her down-and-dirty element in the kind of broad comedy that threatens to get ugly and more or less succeeds on that threat.
  18. A muddled morality tale more interested in coming of age than getting of wisdom.
  19. Ms. Berry does a decent job with the role, and the film treats its subject matter respectfully, but the overall package doesn’t rise above ordinariness.
  20. The Doorman, is simply too distracted to hit the comedic bull's-eye. Whatever the case, his movie gets a chuckle or two but mostly will tickle insiders.
  21. Ends up stranded between two concepts, either of which might have yielded a more satisfying film.
  22. It tells us everything most of us know already, including the fact that politicians lie, journalists fail and youth flounders. Mostly it tells us that Mr. Redford feels really bad about the state of things. Welcome to the club.
  23. The daring but only partly successful Korean film Lies is built around voyeurism.
  24. Bland, unrevealing.
  25. The essential humanity of the characters shines through, giving face and form to a subculture the movies have largely neglected.
  26. Naughty is an outdated word in an era of proud nastiness, but Heartbreakers has a slinky, teasing quality that recalls the dressed-up comedies of the studio era.
  27. A movie for people who somehow managed to miss the point of the first picture.
  28. What makes this nonsense more galling than usual is that while Ladder 49 might have started out as a heartfelt attempt to honor those in the line of literal fire, it weighs in as an attempt to exploit their post-Sept. 11 symbolism.
  29. A moth-eaten stranded-in-the-desert yarn that throws in every cheap trick in the manual to pump up your heartbeat, is so manipulative that the involuntary jolts of adrenaline it produces make you feel like a fool.
  30. Deteriorates from a potentially enlightening exploration of urban development and class conflict into a preposterous melodrama.

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