The New York Times' Scores

For 20,335 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
20335 movie reviews
  1. The actors mark time, and the gung-ho heroics on display are embarrassingly hollow.
  2. Amounts to recycling rather than reinvention.
  3. Sensation, not sense, is the point of this exercise, and what it lacks in originality it makes up for in effective if cheap moments of fright and dread.
  4. Might have been better off as a documentary, with less of Mr. Eyre's uninspired dramatics and more of his sense of observation and outrage.
  5. It's as if the director, Andrew Fleming, and the screenwriters, Nat Mauldin and Ed Solomon, set out to make a movie that would be mediocre in every respect. If so, they have completely succeeded.
  6. Despite some gorgeous sequences. . . Titan A.E. is bland.
  7. A disturbing, somewhat repellent portrait of a depressed middle-class woman's struggle to live comfortably in the world.
  8. Flailing and pummeling the air, with body language that's part prizefighter, part baggy-pants clown, Reno is famous for her bluntness.
  9. As a director, Mr. Ratliff wisely rejects the temptation to make fun of his subjects, most of whom seem to believe sincerely that they are doing the work of God.
  10. None of it adds up to terribly much beyond a rip-roaring adventure that shows off Carlyle and Miller as cynical British city cousins of Butch Cassidy and the Sundance Kid.
  11. Over all, the humor has been sanitized a bit compared with the darker, more grotesque comedy of the French original.
  12. This is fundamentally a recruiting film whose intent is to interest other African-Americans in exploring their spiritual traditions. It displays no real curiosity about its subject except to insist that it is the true path to enlightenment. Mr. Harris's stylistic gifts are quite evident; his reportorial instincts are a bit more muffled.
  13. The animation is competent, and some of the gags are quite funny, but Jonah never shakes the oppressive, morally superior good-for-you quality that almost automatically accompanies didactic entertainment.
  14. Bland but harmless.
  15. (Garvy) has helped advance our understanding of a difficult and exhilarating time.
  16. X
    Has the sleepy feel of an urban fairy tale, but getting there is a long trip.
  17. May be reasonably diverting, but the story never matches the movie's fantastic visual imagination.
  18. Like Lou Ye's "Suzhou River," a Hitchcock homage similarly set in Shanghai's demimonde, So Close to Paradise offers an intriguing and sometimes self-canceling mixture of emotion and style.
  19. Most of it has to do with the ways younger Indian-Americans keep their culture alive in the United States and the ways they don't.
  20. Bluntly downbeat.
  21. Had it exhibited a modicum of restraint, The Forsaken could have been twice as scary.
  22. A minor-key diversion, might play relatively well on television, where you're listening with one ear while keeping the other cocked to the phone.
  23. Doesn't have many fresh ideas to contribute to the genre, though it is reasonably good-natured and delivers a handful of solid laughs.
  24. Extremely well acted. But as frequently as The Farewell touches on politics, it is essentially an excoriating (and sometimes grimly amusing) domestic drama of a latter-day king and his concubines.
  25. If nothing else, Space Station 3-D is a film that agoraphobics and claustrophobics can agree on. Members of both groups should stay home.
  26. There is a real subject here, and it is handled with intelligence and care.
  27. Almost a textbook example of what can go wrong when an artistic bad boy decides to be good.
  28. Although the odds are against them, Mr. Gazzara and Ms. Moreno succeed in cutting through the forced sitcom banter to create a credible and touching portrait of a marriage of two proud individuals who respect each other even in moments of strife.
  29. Has the scruffy charm you expect from this kind of picture, and some admirable feminist pluck. But the story is -- forgive me -- a little thin, and the filmmaking clumsy and rushed.
  30. Whenever the picture tries to be about something bigger, it turns predictable or maudlin or, in a few sad instances, both simultaneously.

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