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. As unrelenting an exploration of isolation and dissociation as Roman Polanski's "Repulsion."
  2. A model French psychological drama in which very little action occurs but feelings and intuitions are documented with precision and discretion.
  3. With its emphasis on global positioning devices, Jet Skis and computer-designed surfboards, Mr. Boston's film is very much concerned with the stuff and very little with the spirit of professional surfing as practiced today.
  4. The story is so schematically histrionic that the bringing in of the Holocaust late in the day feels exploitative and unearned. Gloomy Sunday is an oddity that takes itself much too seriously.
  5. Elf
    A charming, silly family Christmas movie more likely to spread real joy than migraine, indigestion and sugar shock. The movie succeeds because it at once restrains its sticky, gooey good cheer and wildly overdoes it.
  6. A patchwork of contrived naughtiness and forced pathos...The loose ends are neatly tied up, as they are when you seal a bag of garbage -- or if you prefer, rubbish.
  7. A sober, focused piece that asks Americans to take another look at what is going on in their own backyard.
  8. There is very little that is tantalizing or suspenseful. The feeling of revelation is gone, and many of the teasing implications of "Reloaded" have been abandoned.
  9. As these tumultuous events play out in the film... they generate the suspense of a smaller-scale "Seven Days in May."
  10. A sturdy, well-made piece that never quite overcomes its structural flaws.
  11. Makes a jolly absurdist stew out of its sources.
  12. An astute and surprisingly gripping drama not only about the ethics of magazine writing, but also, more generally, about the subtle political and psychological dynamics of modern office culture.
  13. The film's powerful individual scenes seem like excerpts from a missing whole, well-appointed rooms in a house whose beams and girders have been cut away.
  14. As spare as the juvenile institution in which much of it was filmed. As you watch it, you wish the film would fill in more of each girl's background.
  15. Using a fly-on-the-wall camera technique that suggests the cinéma vérité documentaries of Frederick Wiseman, Ms. Cammisa and Mr. Fruchtman vividly capture the dynamic of tenderness and rage that characterizes Sister Helen's relationship with the 21 men who live under her roof.
  16. Lurches when it should glide, shouts when it should whisper and mumbles when it should sing.
  17. Mr. Harris's coach is not a flashy role. But the actor, who effortlessly embodies an all-American ideal of strength and decency, drains as much of the syrup from his character as any actor could hope.
  18. This opulent movie, with gorgeous rainbow animation, is heavy on message but light on humor.
  19. By making the camera an observer, we get a perspective that often comes out of horror movies, a choice that whips the ordinary with the terrifying, an unforgettable mix.
  20. The franchise, which had begun to run out of steam in Part 2, has been given a shot of adrenaline with the replacement of the Wayans Brothers as the prime creative forces by Hollywood's original spoof-meister, David Zucker.
  21. All hope is lost for those trapped in theaters with this picture.
  22. Starts to seem less like a political documentary than a one-sided "Battle of the Network Stars," with the younger generation clearly winning the charisma challenge.
  23. A disjointed, sometimes fascinating mélange of moods, associations and effects.
  24. Does a thoughtful job of streamlining the bloody realities -- both literal and psychological -- of China's Cultural Revolution into roughly two hours of film.
  25. Christine Jeffs's film is an emotionally rich biography of the poet Sylvia Plath, who is played with radiant conviction by Gwyneth Paltrow.
  26. The end titles and the ones that introduce Veronica Guerin...are the most informative parts of the film, and also the most powerful. What comes between them is a flat-footed, overwrought crusader-against-evil melodrama, in which Ms. Blanchett's formidable gifts as an actress are reduced to a haircut and an accent.
  27. John Cusack gives one of his wiliest performances in some time, and one of his most mature, as Nick Easter, an aging slacker drafted into jury duty. He subverts his protracted-adolescent cheekiness and pours the melted charm into something far bleaker.
  28. Rather than exhilaration, this bilious film offers only entrapment and despair. It's about as much fun as sitting in on an autopsy.
  29. A smorgasbord that seems to have been picked out of a Dumpster. It clumsily combines a fish-out-of-water story with bits lifted from sources including the "Terminator" movies, "Star Wars," "Starman," "Close Encounters," a couple of Pink Floyd albums and H. G. Wells.
  30. Hedges's intelligent and touching farce, Pieces of April, makes an important contribution to a small and insignificant subgenre: Thanksgiving Day failure. It does so by raising the bar.

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