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. Many of the faces that emerge through the murk appear bug-eyed. And much of the dialogue, which is frequently shouted, is only semi-intelligible.
  2. After Jimmy Neutron was over, I felt glassy-eyed and a little headachy. But the boy genius who accompanied me to the screening could not take his eyes off the screen. I think he's in his room right now, building a shrink ray to try out on his dad.
  3. A handmade dream, cobbled together from dirt, wood and more imagination than most of us can muster in our most fevered states. Because this Czech master refuses to work in the scrubbed, antiseptic manner of most animators, this fable comes to life as hilarious and creepy.
  4. Continually squanders its opportunities for hilarity.
  5. The playful spookiness of Mr. Jackson's direction provides a lively, light touch, a gesture that doesn't normally come to mind when Tolkien's name is mentioned.
  6. Kandahar feels like a Magritte painting rendered in sand tones, and your eyes are drawn to the screen. There aren't enough of these moments, though, and Mr. Makhmalbaf lessens their power by repeating them.
  7. Astonishingly well acted film, so much so that it seems unfair to single out any of the performances. Mr. Lawrence's camera sense is as sure and unobtrusive as his feel for acting. The movie just seems to happen, to grow out of the ground like a thorny plant, revealing the intricate intelligence of its design only in hindsight.
  8. It is a career-defining performance that could catapult the 37-year-old actor beyond bland romantic leads and into the kinds of juicy anti-heroic parts once gobbled up by Mr. Hoffman and Robert De Niro.
  9. Rarely does a movie feel as leaden-footed as Iris, especially when it tries to bounce back and forth. The audience is transported between two very obvious stories and becomes slightly irritated by the grinding inevitability of both of them. As a result, Iris Murdoch gets lost in the shuffle.
  10. A happy, nasty and frequently hilarious assault on 20 years' worth of youth pictures.
  11. At once endearing and unbearably show-offy, it seems to be the product of a sensibility formed by age-inappropriate reading.
  12. Highly entertaining, erotic science-fiction thriller that takes Mr. Crowe into Steven Spielberg territory.
  13. The blend of grim violence with romantic whimsy tilts toward sentimentality. Mr. Salles has the confidence of a storyteller too entranced by his tale to worry about the resistance of his audience, which he thus effortlessly overcomes.
  14. Has a lovely, unadorned, though distended sentimentality.
  15. Mr. Akin pursues his happy, silly love story without embarrassment, and In July is ultimately more endearing than irritating.
  16. It could easily have become either prurient or moralistic, but Mr. Goldman's stance is that of a sympathetic observer, and his style combines ground-level realism with a touch of Almodóvarian extravagance.
  17. The lovely clarity of this story, which seems to have been drawn from the literature of an earlier age, is well served by the artful subtlety of the telling. Mr. Majidi prefers imagery to exposition, and his shots are as dense with meaning, and as readily accessible, as Dutch paintings.
  18. The movie is quiet, modest and sympathetic almost to a fault; its scenes of emotional discord, accompanied by a swooning, sniffling score, seem best suited to cable television. It's like a Lifetime movie about men.
  19. Helmer's wildly whimsical debut film, Tuvalu, is the kind of movie that might one day find itself in the hall of fame of surreal movie weirdness alongside cult favorites like "Eraserhead," "Delicatessen" and the avant-garde frolics of Guy Maddin.
  20. Though its story is fuzzy, the acting and direction in Final give it an air of quiet, dignified ambition.
  21. Like finding that perfect stage of moderate drunkenness in which the senses are sharpened rather than dulled, and time passes with leisurely grace.
  22. The picture is so predictable that the bad acting becomes a distraction.
  23. With an intensity that few movies have mustered, The Business of Strangers makes you feel the acute loneliness of it all.
  24. One of the movie's dark running jokes is that everyone seems to speak a different language and has trouble communicating. The continual struggle of people to make themselves understood becomes a metaphor for the war itself.
  25. Soderbergh rallies a seismic jolt of enthusiasm, and the movie is an elating blaze of flair and pride.
  26. It is intermittently engrossing, though a little overextended for the deadpan approach that Mr. Bitomsky uses.
  27. This violent meatball western deserves to be forgotten quickly.
  28. A better and more serious film than its forerunner, "American Desi."
  29. Haneke, who wrote and directed, is a skillful, minutely observant filmmaker who trusts his audience to be able to put two and two together. Unfortunately, he's often too cryptic, which leaves viewers still trying to make connections when they should already be reacting to the moral lessons implied by them.
  30. It strings along its joke just long enough to keep from wearing out its welcome.

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