The New York Times' Scores

For 20,313 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:
20313 movie reviews
  1. One of the most accomplished recent films about a non-European immigrant coming to the United States.
  2. In the end, though, Mr. Garbarski makes no judgments, which leaves this film feeling sweet but light: we already knew that Judaism, like most other religions, is an ever-evolving collage.
  3. The film’s rich performances, in which every shade of every character’s emotions registers, can go only so far to camouflage the glaring lapses in a drama that often confuses hints and allusions with coherent storytelling.
  4. The lesson of this story: if enough money is involved, greed trumps morality.
  5. An agonizingly familiar refrain, but one that the young Argentine director Alexis Dos Santos relates with such tenderness and with so much ethereal beauty that it feels like something fresh.
  6. There used to be entertainment in the dodging and wit in the scripts; now there’s 3-D.
  7. The results are hit-and-miss. Some bits fall thuddingly flat, and the characters are rarely more than stick figures.
  8. This entertaining, glib movie is about the maintenance of a brand that Ms. Wintour has brilliantly cultivated since she assumed her place at the top of the editorial masthead in 1988 and which the documentary’s director, R. J. Cutler, has helped polish with a take so flattering he might as well work there.
  9. From the ample evidence, Mr. Harris’s own life in public was a bust. Ms. Timoner sees him as a cautionary tale as well as a visionary.
  10. A stunningly witless revival of the infamous British film series about a girls’ boarding school.
  11. This strikingly humane film may function as a prequel to Animal Planet’s “Whale Wars” but is light years ahead in visual clarity and narrative ambition.
  12. A spasmodically funny and bleak film about the love that speaks its name.
  13. All the more disappointing, then, when what has been a celebration of last-ditch passion slides abruptly into a cautionary tale. Until that point the movie's refreshingly unbiased tone allows us to make our own moral judgments, teasing us with the possibility that, occasionally, the scarlet woman can escape unbranded. I, for one, was rooting for her.
  14. Halloween II is full of in jokes and references but nearly devoid of wit.
  15. This likable, humane movie is not an attempt to recreate the epochal Woodstock Music and Art Fair captured in Michael Wadleigh’s documentary “Woodstock.” It is essentially a small, intimate film into which is fitted a peripheral view of the landmark event.
  16. Mostly, though, there is Landa, whose unctuous charm, beautifully modulated by Mr. Waltz, gives this unwieldy, dragging movie a much-needed periodic jolt.
  17. With a merciless acuity this nihilistic comedy ridicules collective grief and the news media's cynical marketing of inspirational uplift after a death.
  18. Ms. Bledel works her “Gilmore Girls” charm to the hilt, but no amount of cerulean-eyed sparkle can transcend this level of thudding mediocrity.
  19. Soon becomes tiresome, but it’s emblematic of a film that is dancing as fast as it can to entertain.
  20. A taut, unnerving, forcefully unromantic fictional film.
  21. A streamlined, adrenalized thriller that is not as deep as it would like to appear, treads a retrospective political tightrope.
  22. A feature-length talkathon built on a sketchy premise, some unpersuasive psychology, a pinch of politics and strong star turns from Liam Neeson and James Nesbitt, the appeal of all those words runs out long before the director Oliver Hirschbiegel turns off the spigot.
  23. The world may be going “Mad Men,” but Doug Pray’s documentary Art & Copy,”which is being released just five days after the season premiere of that acclaimed television series, presents a very different picture of the advertising industry.
  24. A good-natured screwball road film.
  25. A show not simply preserved by Mr. Lee’s camera, but brought, somehow, to its fullest, strangest, most electrifying realization.
  26. This odd, unsuccessful movie, written and directed by Piyush Jha, is too rigged to have any broader implications about the bloody standoff in Kashmir between militants and the Indian Army.
  27. It’s disappointing, though, to see that his work, while it’s become more polished, has remained essentially self-indulgent and superficial despite the big themes of racism and identity that it takes on.
  28. As the film picks up speed it also accrues a socially progressive agenda. If only this were half as well developed as the female leads.
  29. This is life as it’s lived, not dreamed. And this is a family bound not only by sorrow, but also by a shared history that emerges in 114 calibrated minutes and ends with a wallop.
  30. Brilliant, maddeningly enigmatic puzzle of a movie.

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