The New York Times' Scores

For 20,311 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:
20311 movie reviews
  1. Unable to shape these events into a dramatic structure, the director, Camilo Vila, resorts to a meandering tale of random indignities suffered by a lead so bland he comes across less as principled than as stupendously naïve.
  2. Pulpy but attenuated, Heroine tries to do too much: deliver an exposé of the back-stabbing film business while also drawing a portrait of a woman caught in its vice.
  3. As manifestoes go it is calm and smart, offsetting its stridency with discussion, music, even humor, while issuing a call to arms.
  4. If wallowing in the creative hiccups of tortured scribblers is your moviegoing goal, there are much better options.
  5. The accessible and appealing Ms. Luft is a strong anchor. And Ms. Berman can be funny (especially with a black-and-white Ingmar Bergman send-up). It's intriguing to imagine what she could do with a tighter, more linear script.
  6. It is an emotional journey for these grown children, now in their 40s and 50s, who engage in sometimes heated conversations, several taking place on the actual sites where Joseph and other prisoners endured unimaginable suffering.
  7. Augmented by a trove of archival footage reaching back to the 1930s, Jesse Feldman's buoyant cinematography merges political history and sports mania into a triumphant timeline.
  8. Despite Ms. Janssen's fine taste in music - it's lovely to hear Jorma Kaukonen's "Genesis" on the soundtrack - her film's downfall was ensured by a leading lady who will always be more credible chasing zombies than the American dream.
  9. The filmmakers retain a touching faith that most Americans won't tolerate injustice when they know about it. This film is meant to teach them.
  10. The film's kinky energy eventually wanes, the pileup of profanities losing its initial zing.
  11. Mr. Basset is too enamored of the usual action film clichés, down to some Hollywood-gangsta gun play. But he has a graphic visual style that suits the simplistic material and he keeps you watching even as the wet, sucking sounds of skewered flesh grow tedious.
  12. A dreamy, elliptical neo-noir about a cop turned killer turned something else altogether.
  13. Only occasionally funny and not at all illuminating about the rich world of a cappella singing.
  14. However you take its politics, the film upholds a dreary tradition of simplifying and sentimentalizing matters of serious social concern, and dumbing down issues that call for clarity and creative thinking. Our children deserve better.
  15. For the first half of the film, amusing monster humor keeps things interesting; some monsters, it turns out, are better at party games than others.
  16. Mr. Johnson throws a lot at the screen, blasted corpses included, yet little here is as initially transfixing as Mr. Gordon-Levitt's mug.
  17. The narratives - involving princesses, sorcerers, dragons, talking animals - are familiar. But Mr. Ocelot invigorates them with lyricism: silhouettes evoke shadow plays, and often brilliant palettes reflect the cultures presented.
  18. Scrupulously apolitical, The Waiting Room is the opposite of a polemic like Michael Moore's "Sicko." But by removing any editorial screen, it confronts you head-on with human suffering that a more humane and equitable system might help alleviate.
  19. The film world setting could be better exploited and Shanaya's jealousy made less mechanical, but Raaz 3 delivers other goods: some horror thrills, some true-love-versus-evil thrills and some unusually steamy bits.
  20. It's pleasant. It treats Democrats and Republicans respectfully, and its humor, with the comic Mo Rocca as guide, is closer to Garrison Keillor than to Michael Moore.
  21. At a certain point this would-be shocker suddenly jerks into high gear and becomes a blatant, incompetent rip-off of "Psycho."
  22. Dizzily enjoyable documentary.
  23. In the words of Mr. Kramer: "The government didn't get us the drugs. No one else got us the drugs. We, Act Up, got those drugs out there. That is the proudest achievement that the gay population of this world can ever claim."
  24. Head Games gains credibility and power from compassion for athletes and respect for their accomplishments. But it also tries to open the eyes of sports lovers to dangers that have too often been minimized and too seldom fully understood.
  25. The results are likable, unsurprising and principally a showcase for the pretty young cast, notably Mr. Miller, who brings texture to his witty if sensitive gay quipster.
  26. Wavering between light comedy and drama with wonderfully natural performances, 17 Girls doesn't judge anyone's behavior.
  27. The fatal flaw of this well-acted movie, whose creators are sex industry veterans, is its refusal to examine Angelina's occupation from outside the bubble. You might even call it a recruitment film.
  28. Except for a subplot about a missing cat that suggests that Fred may be considerably dottier than he appears, the movie gets almost everything right about the uncomfortable moment when grown children are forced to be their parents' parents.
  29. The dishes dazzle in Lutz Hachmeister's documentary Three Stars, a cinematic helping of some of the world's finest restaurants - and of their chefs' opinions.
  30. Unfortunately, in waving the flag for more holistic, naturopathic treatments, the already meandering Doctored loses focus, touching on topics like alternative cancer treatments, autism and vaccination, and genetically modified produce. Mr. Sheehan seems to forget the primary documentarian directive: First, do no harm to your main argument.

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