The New York Times' Scores

For 8,987 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Sweet Smell of Success (re-release)
Lowest review score: 0 King's Ransom
Score distribution:
8,987 movie reviews
  1. 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.
  2. The only thing missing is a coherent story -- or even, for that matter, an interesting idea for one.
  3. Relentlessly bright and superficial, even when the subject turns to self-destruction.
  4. With the exception of some of the battles, which have the angry desperation of Mr. Yuen's inspired martial-arts choreography, Close is a nominal effort.
  5. This poorly acted, ramshackle tour of the lower echelons of the Los Angeles rock scene has the feel of a largely improvised home movie filmed without retakes, and its sense of humor could only be fully appreciated by struggling musicians.
  6. Rather than exhilaration, this bilious film offers only entrapment and despair. It's about as much fun as sitting in on an autopsy.
  7. 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.
  8. Proves to be both too much and not enough: yet another slick, empty package of ersatz entertainment.
  9. Doesn't have a genuinely human moment.
  10. A bubbling crockpot of farcical mush to warm the tummies of anyone who really and truly misses "The Brady Bunch," and I mean really and truly.
  11. Having established its premise and set in motion an overloaded plot, the picture lurches this way and that, evoking more restlessness than laughter and more boredom than pathos.
  12. The spectacle of two mature stars forced to grovel in the bathroom for cheap laughs is pathetic.
  13. By Monday, Torque will look like a period piece with its expiration date, January 2004, prominently displayed. The inevitable movie-inspired video game will appear more realistic.
  14. The question remains: why work so hard to make something deliberately bad, when the world is hardly running a shortage of mediocre movies?
  15. A high-concept, low-reward hodgepodge that mingles elaborate stunts and shootouts with stereotypical ethnic humor.
  16. Probably should have stayed on a shelf back in Paris.
  17. It's one of the rare films for which a blooper reel would be redundant.
  18. Too lazy and too loosely structured to accomplish much besides conveying some vivid physical impressions. There is no narrator, and the structure that exists is clouded by the new-age mumbo-jumbo of eight principal commentators.
  19. Mr. Allen's work is compromised by an apparent inability to match his shots in a spatially coherent fashion. It's never easy to tell who is chasing whom and in which direction, a needless confusion that dampens many of the thrills and scuttles quite a few gags.
  20. This movie is a suspense thriller whose only suspense comes from an audience wondering if the picture will hit its promised 97-minute running time.
  21. Lacks the sexy elan of "La Femme Nikita" and suffers from infinitely worse culture shock. [18 Nov 1994, p.C18]
  22. A slapdash, poorly acted, paint-by-numbers teen horror comedy, the sequel is too frenetically edited to build any suspense, and its special effects are strictly bargain basement.
  23. The eventual video game is bound to be a lot more fun -- and less slowed down by bad dialogue -- than this "Dead."
  24. One
    The film's spareness and lack of words seem affected and ultimately unrealistic. At such moments, its refusal to put things into words and its crushing sense of gloom turn self-defeating.
  25. He's (Marco Filiberti) his own best audience, and Adored is best left to his own enjoyment.
  26. 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?
  27. 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.
  28. 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.
  29. Its lack of subtlety is clearly a point of pride, and Mr. Hensleigh's flat-footed, hard-punching style has a blunt ferocity that makes "Kill Bill" look like "In the Bedroom."
  30. 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.

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