The New York Times' Scores

For 20,323 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:
20323 movie reviews
  1. Mallorca tries hard and sometimes manages to make up for what is lacking in the technical department with spirited characters and high levels of comic energy.
  2. Whether in the whorehouse or the sanitarium, Psychopathia Sexualis is an exercise in unrelenting dullness.
  3. What emerges is less the celebration of an institution than a picture of man's relationship to nature that is every bit as beguiling as a Rousseau.
  4. Terminally glum and waterlogged.
  5. The script (by Jeremy Garelick and Jay Lavender) strains hard after a few easy jokes, and the whole movie feels dull and trivial.
  6. With backing from the film's producer and co-writer, Luc Besson, the director, Pierre Morel, mounts a breakneck B movie inspired by Hong Kong action extravaganzas, the gritty genre classics of John Carpenter and the Thai neo-kung fu parable "Ong Bak." He hasn't reinvented this particular wheel, but he gets it spinning with delirious savoir-faire.
  7. Whatever your opinion of the war - and however it has changed over the years - this movie is sure to challenge your thinking and disturb your composure. It provides no reassurance, no euphemism, no closure. Given the subject and the circumstances, how could it?
  8. Its fidelity to its characters’ view of the world -- although they are presumably college graduates, they seem never to have read a book or expressed an opinion -- is more a liability than a virtue. The Puffy Chair is as modest as their ambitions and as narrow as their curiosity about the world beyond themselves.
  9. Typhoon aims high but misses the emotional mark in most instances, resulting in some awkward melodramatics. Even so, it flourishes during its well-executed action sequences and commands attention almost instantaneously, though, in the end, it will be forgotten just as quickly.
  10. Like so many political films of this type made for British television, this documentary contains more information than analysis, not to mention predictably spooky music.
  11. For all its manifest corniness, this is an achingly sincere and supremely unembarrassed effort to transform an audience for the good. Its heart is very much in the right place - a place that movies all but ignore - but its mind is a mush.
  12. Crammed with comments from patrons and performers, La Tropical is a sensual celebration of people for whom dancing is the "most important nonreligious ritual."
  13. A larger problem is the film's attempt to piece together a hard-boiled crime drama with a soft-boiled soap opera, ultimately giving precedence to the suds and adding a sickly lemon scent.
  14. Mostly, as so often with these types of empty entertainments, you are left to wonder why companies that hire so many fine actors to run around under latex and foam and have the best technological wizardry money can buy seem to spend so little attention to the screenplay.
  15. By the time the frustratingly silly ending arrives, it's confirmed that Shem, which translates to "name" in Hebrew, is just as confused as its protagonist. Daniel's looks may charm everyone who crosses his path, but he is like the movie: most of the depth that does exist remains buried beneath the surface.
  16. A textbook example of seat-of-the-pants guerrilla filmmaking.
  17. As much fun as that is for the choir being preached to, it would have been even more persuasive with a little less hammering and a little more historical perspective.
  18. The epic Bollywood extravaganza Fanaa goes so far over the top that it reinvents itself halfway and launches on a brand new trajectory of the absurd.
  19. This pleasant if inconsequential romantic comedy from the Croatian director Hrvoje Hribar is distinguished by its good-natured sensibility and rowdy, slightly fabulous tone: a kind of Eastern European magic realism, without the magic.
  20. As unsettling as it can be, it is also intellectually exhilarating, and, like any good piece of pedagogy, whets the appetite for further study.
  21. No matter how serious it becomes, however, La Moustache never forsakes an underlying attitude of high-style playfulness that recalls Hitchcock's cat-and-mouse romantic thrillers.
  22. Stagedoor is like leafing through a collection of snapshots assembled with few captions and no text.
  23. I certainly can't support any calls for boycotting or protesting this busy, trivial, inoffensive film. Which is not to say I'm recommending you go see it.
  24. There is no poetry here and little thought.
  25. See No Evil devolves into an increasingly bloody and creative string of butcherings and impalings.
  26. Fitfully engaging, finally exasperating.
  27. The second half of the movie squanders suspense and momentum, solving its riddles by deflating them.
  28. The upbeat ending can't erase the lingering aura of being trapped in an insane asylum with the Manson family.
  29. This is the exceedingly rare film that understands how lonely, insecure preadolescent children can become so consumed by their feelings that they lose sight of ordinary boundaries and unconsciously act out their parents' darkest fantasies of passion and revenge.
  30. Pretty much pure boilerplate: a reasonably well-executed throwaway that, when you finally get around to seeing it in its proper setting, will make you glad you decided to travel by air instead of by sea.

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