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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 A Touch of Sin
Lowest review score: 0 The Abduction of Zack Butterfield
Score distribution:
9,007 movie reviews
  1. All in all, this is a movie best enjoyed with a snoot full and a morbid disposition.
  2. What makes Leap Year so singularly dispiriting is precisely that it is bad without distinction -- so witless, charmless and unimaginative that it can be described as a movie only in a strictly technical sense.
  3. Gathers a partyful of young players and barely gives them enough of a story line to puff on, but it gets by on personality anyhow.
  4. With its studied nonchalance, Loners reaches neither the hilarity of an episode of "Friends" nor the ethnographic stickiness of "The Real World" on MTV.
  5. The cast never has much chance to shine. And the main attraction is kept all too understandably under wraps.
  6. Although Garmento exhibits a flailing comic energy, its eagerness to condemn everything about Seventh Avenue, along with its sub-par acting and a choppy narrative style that finally runs amok, lends it a tone of hysterical finger-pointing.
  7. Quickly moves beyond the oppressive into the cruel and unusual.
  8. 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."
  9. There's not much sense to the plot. But the film makers' blunderbuss approach to humor, with visual and verbal jokes coming in profusion and scattering high and low, guarantees that just about every funnybone is bound to be hit, some more than once.
  10. Jay Alaimo’s sour tale of suburban greed and marital disappointment, can’t even deliver a temporary high; mired in the blahs, the blues and the midlife crazies, this poor man’s “American Beauty” slowly sucks your will to live.
  11. An unrelentingly tedious documentary.
  12. The film's elegantly tricky cinematography and ominous, pounding score by Hans Zimmer (provocatively juxtaposed with the Rolling Stones), only underline the emptiness behind its technical flash.
  13. Struggles from beginning to end to capture the charm and ebullience of "Four Weddings." The new movie's effort is mostly unsuccessful, but there are bright spots.
    • 32 Metascore
    • 30 Critic Score
    A deranged, sometimes desperate parody of an inspirational losers-make-good comedy. Three gags miss for every one that hits.
  14. The best jokes in this scattershot screwball satire of job insecurity, upward mobility, political correctness and yuppie marital tensions have claws that leave scratches.
  15. Not even a dewy heroine and a youth-friendly vibe can disguise the essential ugliness at its core: like the bloodied placards brandished by demonstrators outside women's health clinics, the film communicates in the language of guilt and fear.
  16. Should soon join Mr. Greenaway's last few efforts in obscurity.
  17. After about 20 minutes of "Thing," a concussion begins to look enormously appealing.
  18. A happy, nasty and frequently hilarious assault on 20 years' worth of youth pictures.
  19. Disarmingly, the film thus acknowledges the Spice Girls' flash-in-the-pan status and lets them kid around about their frankly synthetic career.
  20. 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.
  21. A cringing romance that Mr. Vinterberg tries and fails to spin into a political allegory.
    • 32 Metascore
    • 40 Critic Score
    The leaden dialogue and flat-footed storytelling hobble a talented cast.
    • 32 Metascore
    • 40 Critic Score
    Except for Judah Friedlander’s earthy, funny work as a paparazzo, most of the performances are vague and dull, including Lindsay Lohan’s supporting turn as a fictional Beatles fan who befriends Mr. Chapman.
  22. Mr. Edwards, who wrote and directed Land of the Blind (it's his debut film), might counter that the movie is a Brechtian comedy that's not supposed to make literal sense: the big picture is what matters. But the big picture is a mess.
  23. UHF
    The movie is forever digressing so that Mr. Yankovic can offer media spoofs that have only the most tangential relation to the story. [22 Jul 1989, p.1.15]
  24. Are they fools or heroes? Because the movie can't decide, neither can we. And without an emotional payoff, Play It to the Bone ends up stranded in serio-comic limbo.
  25. Mr. Rock's attempts to disentangle himself from his persona while offering audiences a sliver of insight into his world is a lofty ambition, but Down to Earth falls short.
  26. Drab and incoherent teen comedy.
    • 32 Metascore
    • 40 Critic Score
    The film is brazenly indebted to old cowboys-and-Indians movies and to James Cameron’s "Aliens." Gleefully sensationalistic and paced like an adults-only shoot-'em-up video game, it's ultimately less interested in subversion and subtext than in making viewers squirm, shriek and throw up into their popcorn bags.

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