The New York Times' Scores

For 10,042 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 The Queen
Lowest review score: 0 Hush
Score distribution:
10,042 movie reviews
  1. Because Kids in America can't decide whether it wants to be a stock teenage comedy or something more, it ends up stranded in the middle of nowhere.
  2. Purely for curiosity’s sake this unusual, intermittently hypnotic quasi monster flick is worth checking out, at least until the initial "what is this?" effect wears off and it becomes as tiresome as listening to someone relate long-winded tales about nightmares or drug-induced exploits.
  3. You may see scarier movies this year, but none so redolent of decomposition.
  4. Underlying this overlong and overheated enterprise is a surfeit of ambition. Maybe too much.
  5. It's a clever idea bogged down in sophomoric sloppiness. Sitting through it doesn't feel like eternal damnation, but it's not exactly heaven, either. It's a $9.50 tour of adolescent purgatory.
  6. Terminally whimsical, it generates a steady current of humor, much of it off-color.
  7. The film confines them to an affair that is the sexual equivalent of Easy Listening.
  8. Corny, suds-drenched movie. The kindest way of looking at this roughly patched-together story is as the cinematic equivalent of the music it memorializes.
  9. Has a ghoulish wit. It's not as cheekily knowing as the "Scream" movies or as trashily Grand Guignol as the "Evil Dead" franchise, but like those pictures it recognizes the close relationship between fright and laughter, and dispenses both with a free, unpretentious hand.
  10. Proves to be both too much and not enough: yet another slick, empty package of ersatz entertainment.
  11. Mr. Rodriguez seems unsure what his film is really about, making the moral of the story -- "dream an unselfish dream" -- feel more like a vaguely judgmental homily than a satisfying conclusion.
  12. One of the things that makes Adore, which was written by Christopher Hampton, hard to take seriously is how seriously it takes itself, how utterly purged of humor or credible human complication the drama at its center turns out to be.
  13. An ingenious contraption that holds your attention for as long as it whirs and clicks like a mechanized Rubik’s Cube. After it’s over, however, you may find yourself scratching your head and wondering if there was any purpose to this sleek little gizmo.
  14. A clever, entertaining yarn that doesn't bear close scrutiny.
  15. Made of Honor retains enough sweetness to satisfy the cotton-candy addicts. For true believers in fairy tales, no romantic fantasy is too extravagant if the heroine is a sweetheart. The rest of us can sit there and roll our eyes.
  16. The movie itself is a shell. The characters, especially the unstable Hadley, barely exist. And even by the loose standards of film noir, the mechanics of the murder plot, and the story’s jolts and twists toward its abrupt surprise ending, are unconvincing.
  17. The movie is staged like a pit stop -- Reindeer Games goes from being fun to being laughable.
  18. Alas, excesses of any pleasurable kind are absent from this exasperatingly dull production.
  19. Written and directed by the husband-wife team of Kieran and Michele Mulroney, Paper Man is so unsure of itself that its symbolic edifice feels like a desperately erected defense system.
  20. The movie has the metabolism, logic and attention span of a peevish 6-year-old.
  21. A facile exercise in nihilism posing as an indie "Training Day" with street cred. Don't believe it.
  22. To succeed as more than a study in artifice, a film - especially one steeped in fatalism - needs to feel real.
  23. So why? Why would stars of the magnitude of Mr. Cage and Ms. Kidman sign on to a project whose screenplay is so inept that the movie, even if profitable, will stand as a career-impeding setback? Can't they read?
  24. Some of this seems like stoner’s paranoia, and some of the film’s talking heads, mainly comedians, don’t make the best advocates. Over all, though, its experts... argue forcefully for decriminalization.
  25. The scandal of Mr. Clark’s more recent movies, including “Wassup Rockers” and “Ken Park” and this new one, resides more in its tedium and lack of insight than its strenuously provocative content.
  26. Newlyweds are slaughtered, a child kidnapped and a suicide bombing foiled, all of it advanced by chunks of clumsy dialogue and embarrassingly labored acting.
  27. A mawkish drama hobbled by a thoroughly unpleasant and uncharismatic lead performance.
  28. Underdog may have been originally created to sell cereal for General Mills, but this latest incarnation couldn't sell Frisbees at a dog park.
  29. Like most of Mr. Ferrara's films, The Blackout takes place in a trance state -- events are fuzzy, line readings even fuzzier. There are mysterious ellipses in the plotline and lots of droning electric guitar work on the soundtrack.
  30. Knock Off runs breathlessly over land and water in familiar comic book fashion, offering more action than sense and next to nothing in the way of suspense, humor or romance.

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