The New York Times' Scores

For 9,007 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Talk to Her
Lowest review score: 0 A Haunted House 2
Score distribution:
9,007 movie reviews
  1. 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?
  2. 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.
  3. 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.
  4. 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."
  5. 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.
  6. This is a time-tested movie con, but rarely has it been deployed so contemptibly.
  7. Squandered in foolish horseplay and on a story that zigzags so far out of control that it feels as if the screenwriter, Steve Adams, pasted together a bunch of zany notions in a frantic search for confusion.
  8. The picture, which fails to achieve its ambitions or to fulfill our expectations, is ultimately worse than a violent piece of hack work, in which the director isn't interested in displaying his integrity -- or taste. You'd be better off downloading the trailer: a much more convincing piece of storytelling.
  9. Mr. Piccirillo's direction reflects a basic knowledge of stagecraft but no discernable sense of filmmaking. The dull television-style close-ups march relentlessly across the screen, leaving only the ghostly trails of badly transferred video images behind.
  10. A quintessential Renny Harlin film: a big, dumb, loud action movie.
  11. Instantly forgettable film.
  12. Credibility, of course, wouldn't matter if the gags were good enough, which they are not. The film quickly falls back on the gross-out jokes that have made recent American comedies such a challenge to the digestive tract.
  13. The picture is a bland procession of loosely framed close-ups, which serve only to underline the amateurish performances.
  14. Ridiculous without being awful enough to be hilarious.
  15. Isn't very successful at evoking the dream state, but does a good job of inducing it.
  16. Even for a fairy tale, A Cinderella Story, directed by Mark Rosman from a screenplay by Leigh Dunlap, fails to make sense.
  17. A howlingly silly, moderately diverting exercise in high, pointless style.
  18. Less a formal documentary than a rambling screed.
  19. Tricked up with an elaborate flashback structure, subtitled dialogue in three languages and as many gratuitous aesthetic touches as the traffic will bear, Proteus emerges as a heavy, pretentious and derivative film.
  20. Mr. Girod is a fish out of water in the after-hours clubs and deserted industrial districts that constitute the sexual underworld of Brussels. His film feels more like what one would see from the top of a double-decker tourist bus than the work of someone who has immersed himself in a sexual subculture and its particular values.
  21. Pushes its ugly humor further than most.
  22. The risible dialogue, the bulging eyeballs, the heaving bosoms, the digitally rendered hyenas and squirming maggots, the movie fails to achieve the status of the instant camp classic. That's partly because the vibe of the film is too torpid.
  23. There's something unsettling when fiction exploits this history to such puny, self-interested ends.
  24. Makes no psychological sense. Even within the convoluted realm of film noir, the development of the relationships defies any logic.
  25. Strains to be the ne plus ultra of arch, hyper-sophisticated fun, but the laughs are few.
  26. In the preposterous thriller The Forgotten, a pseudospiritual, mumbo-jumbo, science-fiction inflected mess, the director Joseph Ruben does not just fail to tap into Ms. Moore's talent; he barely gets her attention.
  27. Maybe Mr. Johnston, who has directed television commercials and music videos, intended this to be a guessing game. But the method robs the real encounters of their power and, even more important, trivializes the subject.
  28. A bland, half-finished film that seems to have been conceived as off-peak cable fodder.
  29. The screenplay is closer in tone to an uneasy mixture of post-"Seinfeld" bile and unfocused Altmanesque satirical misanthropy. Partly because the story's structure is so haphazard, most of the jokes land with a thud.
  30. As you watch the comedy lurch along, the woozy, sinking sensation it produces suggests a movie slapped together after the consumption of far too many gallons of that spiked eggnog.

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