The New York Times' Scores

For 9,294 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 3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 We Were Here
Lowest review score: 0 Murder-Set-Pieces
Score distribution:
9,294 movie reviews
  1. Ms. Ryan's lean, eagle-eyed golden girl is enough to curdle milk.
  2. No doubt there are those who will deem Simon Birch ''heartwarming.'' It is exactly the kind of movie that has given that hackneyed superlative a bad name.
  3. Villainy toward the infant class now comes from Jon Voight, descending to the depths of his 37-year-career.
    • 13 Metascore
    • 0 Critic Score
    It is hard to know what exactly Mr. Palumbo is trying to say in his debased film.
  4. So inept on every level, you wonder why the distributor didn't release it straight to video, or better, toss it directly into the trash.
  5. Incoherent mess of a film.
  6. Even by the standards of its bottom-feeding genre, Dirty Love clings to the gutter like a rat in garbage.
  7. Putrid comic stew.
  8. The kind of witless production that should rightly be cluttering the discount bins at your local video store.
  9. Viewer discretion is advised, if only because it's well-nigh unwatchable.
  10. The movie... hasn't the foggiest notion whether it's a soap opera or a horror film, and wanders around in a generic fog.
  11. A scorching affront to Italians, Iraqis and the intelligence of movie audiences everywhere.
  12. The results are so disastrous that absolutely no one is shown off to good advantage, with the possible exception of the hairdressers involved.
    • 27 Metascore
    • 0 Critic Score
    Like so many Eddie Murphy misfires, Vampire in Brooklyn has no idea how to capitalize on the actor's immense appeal. The film was directed by the horror master Wes Craven and it turns out to be an Eddie Murphy-Wes Craven movie that is not funny or scary. Now that's a nightmare.
    • 33 Metascore
    • 0 Critic Score
    This muddled film about a secret C.I.A. project in Laos in 1969 fails on every possible level: as action film, as buddy film, as scenic travelogue and even, sad to say, as a way to flaunt Mel Gibson's appeal.
    • 25 Metascore
    • 0 Critic Score
    The maudlin, grotesque western September Dawn, about the massacre on Sept. 11, 1857, of about 120 settlers by Mormons (and their Paiute Indian mercenaries), apes "Schindler’s List" in hopes of creating a Christian Holocaust picture.
  13. A worthless piece of garbage.
  14. A relentlessly ugly, unpleasant, often incoherent assault on the senses from Brazil.
  15. Custom designed for its smirking star (who is also an executive producer), this tasteless train wreck asks only that she preen and prance on cue.
  16. The Love Guru is downright antifunny, an experience that makes you wonder if you will ever laugh again.
  17. Harold is the type of one-note dead zone ideally suited for a bathroom break while sitting home on a Saturday night, alone and semidrunk, in front of the television. At feature length it's enough to make you tear your hair out.
  18. Clueless, directionless and altogether pointless.
  19. The crushingly unfunny and slopped-together How to Lose Friends & Alienate People has neither the ambition nor the intelligence to do justice to its source material.
  20. A convoluted, hysterical mess of a movie with grandiose spiritual airs and not a drop of humor.
  21. See the Holocaust trivialized, glossed over, kitsched up, commercially exploited and hijacked for a tragedy about a Nazi family. Better yet and in all sincerity: don't.
  22. The most transcendently, eye-poppingly, call-your-friend-ranting-in-the-middle-of-the-night-just-to-go-over-it-one-more-time crazily awful motion pictures ever made.
  23. A futuristic vomitorium of bosoms and bullets.
  24. A nasty exploitation flick tarted up with art-house actors and psychobabble.
  25. It seems doubtful that Surveillance, a would-be transgression that tries to squeeze dark laughs from the spectacle of human suffering, would be taking up space in theaters if its director were not the daughter of a name filmmaker.
  26. This imbecilic, mean-spirited farce, which sneers at adults, leaves you wondering: where are the Three Stooges when we really need them?

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