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. This is a tiny, vulnerable, rather treacly film at heart, one that would probably float away were it not for Ms. Rue's generous presence.
  2. As a female vocal duo, their performances are passable, if a little dull and lacking in any sense of camp exaggeration.
  3. The narrative scheme, the brooding period atmosphere, the understated score (by David Byrne) and the precision of the acting also make the story seem more interesting than it is.
  4. A bleak, static mood piece about adolescent emptiness. There's little dialogue, and what there is offers the scantest information about Gerardo, who, as played by Mr. Ortuño, conveys an impenetrable blank-faced melancholy.
  5. Wants to be both a realistic family drama and a mythical odyssey but lacks the substance to be much more than a vignette.
  6. The lesson of Showboy is how disturbingly easy it is for an audience to trust what it sees when confronted with a film posing as factual documentary.
  7. The sustained force of Mr. Dumont's vision of existence as a swirl of brute instincts may not be easy to absorb, but it marks him as a major filmmaker.
  8. 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.
  9. At least it isn't a remake -- though given how slovenly and forced this movie is, maybe that wouldn't have been such a bad idea.
  10. Although the movie takes on many of the characteristics of a conventional thriller, it refuses to go for cheap, vicious shocks, and the adults are seen through the curtain of Michele's trust.
  11. Thornton's performance is lost in a film that is more of a schematic success than a dramatic one.
  12. The messages blend seamlessly into the fantasy and comedy in what is surely one of the best films for older children in quite some time.
  13. Feels more like a grueling road trip in search of a family comedy.
  14. It is not so much a documentary as a fictional film about the making of a documentary, or perhaps a documentary about the making of a fictional film about the making of a documentary. If this sounds a bit maddening, it is, though the confusion that The Blonds induces is clearly part of its intention.
  15. A strange, disturbing and yet occasionally quite funny cultural artifact from the new Russia.
  16. Walking Tall has no more fat on it than the Rock himself, a hulking yet curiously ingratiating presence who seems the most likely candidate to replace Gov. Arnold Schwarzenegger as America's favorite living comic book character.
  17. An exquisitely simple movie. Mr. Kim manages to isolate something essential about human nature and at the same time, even more astonishingly, to comprehend the scope of human experience.
  18. A cream puff with a melted marshmallow inside it. As the temperature rises, the whole gooey thing starts to melt.
  19. He's (Marco Filiberti) his own best audience, and Adored is best left to his own enjoyment.
  20. Mr. del Toro lets loose with an all-American, vaudevillian rambunctiousness that makes the movie daffy, loose and lovable.
  21. The best cartoons are built on the contradictory pursuit of meticulously arranged anarchy. But they never seem needy, or desperate for laughs, as Home on the Range does. The film seems hungrier for a pat on the head than a chuckle.
  22. Stringent, clinical and almost unbearably moving.
  23. The real question raised by The United States of Leland is not why, but how. How, that is, did so many talented actors find their way to this dreary and derivative study in suburban dysfunction?
  24. The beauty of Mr. Naderi's filmmaking lies in his combination of acute social observation (with the subway population providing its habitual cross section of New York classes and cultures) and pure, almost mathematical formalism.
  25. It mocks the absurdity of war, but between the chuckles, and especially near the end, it plucks the heartstrings.
  26. Keeps its claws carefully retracted. That's probably for the best, since the documentary still leaves a bitter aftertaste.
  27. Primarily a riveting genre film that neatly exhibits the director's growing assurance -- Donald Goines would be proud.
  28. Looks like a Saturday morning cartoon (the characters all wear color-coded costumes) and unfortunately feels like one, too, with its thin characterizations, largely arbitrary action and feeble jokes.
  29. Unquestionably minor, perhaps deliberately so, but it is nonetheless intermittently delightful.
  30. Sadly, Mr. Smith has made a movie so false and blatantly icky that it's the film equivalent of making goo-goo noises and chucking a baby under the chin for 103 minutes. At the end, all you're left with is drool and a mountain of baby powder.

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