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. Drags and meanders when it wants clarity and clockwork, and bogs down in hazy, vague emotions.
  2. As intense an immersion in military ambience as a Hollywood movie could hope to provide in just over 90 minutes.
  3. Ultimately seems naïve. In developing the comparison of sex and cannibalism, it never goes beyond the standard Draculian symbol of blood to include other bodily substances.
  4. Some of the nonstop commotion of Bangkok Dangerous is funny and inventive -- but much more of it is simply irritating and obfuscating.
  5. When a film as profoundly quiet as In the Bedroom comes along, it feels almost miraculous, as if a shimmering piece of art had slipped below the radar and through the minefield of commerce.
  6. Essential viewing for anyone who desires a sense of the finer human grain of a war that now commands the attention of the world as never before.
  7. A movie that knows its audience. Its underlying philosophy might be: why try harder when this is all they expect?
  8. The time is right for a breezy, captivating New York romantic comedy. Sidewalks of New York is not an especially good movie, but it will do.
  9. Mr. del Toro provokes your screams and shudders, but he also earns your tears.
  10. The problem lies in the calculating pretentiousness of using human misery to make shallow entertainment seem serious. It's worth comparing Spy Game with "The Tailor of Panama," John Boorman's far superior exercise in post-cold-war spycraft.
  11. A ski party movie in which the clothes are a little more revealing than they were 35 years ago, the practical jokes are a little more tasteless, and the uncertainty over sex is pretty much nonexistent.
  12. The movie is powerfully acted. Mr. Lo Verso's passionate, fiery-eyed Giovanni is an incandescent star turn by an actor with world class charisma.
  13. Entertaining, lightly mocking documentary.
  14. Moves nimbly from behind-the-scenes comedy to melodrama, with occasional stumbles into pop psychology and film-noir violence.
  15. Nothing is particularly believable here, but there are still a few moments of silly, sinister fun.
  16. Might be described as a muddy, cliché-ridden sudsfest that lurches uncertainly between comedy and soap opera without finding its emotional or visual footing.
  17. Given that movies can now show us everything, the manifestations that Ms. Rowling described could be less magical only if they were delivered at a news conference.
  18. The film offers a concise history of hijras, who used to officiate at births, weddings and other religious rituals.
  19. Isn't much of a movie (it'll play much better on the small screen), but the likable chemistry between Dre and Snoop counts for a lot.
  20. An intrepid sleuth, Ms. Snyder seems to have left no stone unturned in her search for answers.
  21. This mishmash of emotional tones can't be redeemed by the performers' considerable investment in their work.
  22. Mr. Rosenfeld is a writer whose talent shines through in the way he harvests minute pearls.
  23. Heist is a pleasure to watch, and the greatest pleasure is to watch Mr. Lindo and Mr. Hackman steal it.
  24. The most shocking thing about it may be its unabashed sincerity.
    • 60 Metascore
    • 80 Critic Score
    A bleak and powerful work, one we probably need more than ever these days.
  25. The movie's relentless comic excess is ultimately a little exhausting. But the longer the series endures, the more likely it is to achieve classic cult status.
  26. Perhaps it's all a bit too much, and perhaps it doesn't add up, but the loose ends give the picture a jaunty, improvised feeling that, while it leads to some confusion, is ultimately part of its whimsical charm.
  27. In portraying this threesome, Ethan Hawke, Robert Sean Leonard and Uma Thurman give the most psychologically acute performances of their film careers.
  28. Jettisoning any ambition toward thrillerhood, Domestic Disturbance becomes a plodding, obvious angry-dad melodrama, ambling toward the final, fatal showdown between parent and usurper.
  29. A finely acted expressionistic critique of the suburban baby culture and its joys, fears and fetishes.

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