The New York Times' Scores

For 9,703 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Citizenfour
Lowest review score: 0 Two of a Kind
Score distribution:
9,703 movie reviews
  1. The home-movie crudeness of Dead or Alive: Final indicates it was made on the cheap with minimal preparation.
  2. It's fleet- footed, merciless entertainment. But the mixture of laughs, bathos and brutality is a big turnoff.
  3. The film equivalent of the dark, boring period on a haunted house ride before the gondola crashes into another room filled with dirty mirrors.
  4. If you’re watching this film and waiting for something funny or insightful to come along to assuage your annoyance, you’ll wait a long time.
  5. Roberto Andò's Viva la Libertà wobbles between being wispily suggestive of finer existential meaning and generational commentary, and being basically a handsomely dressed-up “Dave” for post-Berlusconi Italy.
  6. It ends up being largely just another story about a rebellious American teenager.
  7. The film’s director, Liz Tuccillo — a former writer for “Sex and the City,” an author of “He’s Just Not That Into You” and now developing a sitcom for Lauren Graham — is predictably facile with comic rhythms, though her dialogue tilts toward the glib, and her characterizations toward the familiar.
  8. Wears its preposterousness with a certain pride. It’s about the cat-and-mouse game between two very smart guys, and it’s perfectly happy to be as dumb as it wants.
  9. Blends the least of Woody Allen with a plot complication out of "Love, American Style," stuck together with sitcom glue.
  10. There's an itch for this kind of material, and here it is scratched -- to the bone.
  11. Much of the skimpy, waterlogged dialogue in Peter Vanderwall's screenplay is heavy with portent. Excerpts from Homer's "Odyssey" and Longfellow's "Children's Hour" add to the tonnage.
  12. The film is stronger with its moment-to-moment tension than with its cynical, shallow media satire.
  13. A semicoherent, overacted mélange of travelogue, farce and suds.
  14. Crisply shot and surprisingly well acted, Mother's Day suffers from an overly long script (a tornado hovers off screen to no apparent purpose) and annoying glitches in continuity.
  15. A thoroughly, sometimes gaggingly broad and sly conceptual laugh-in.
  16. Has shockingly little to say.
  17. Mr. Lee gathers together a lifetime of hurt without conveying that there's something personal at stake.
  18. Brain-dead.
  19. Looks like a Saturday morning cartoon (the characters all wear color-coded costumes) and unfortunately feels like one, too, with its thin characterizations, largely arbitrary action and feeble jokes.
  20. The Ledge, it should be noted, is not dumb. What undoes it is its mechanical structure: a stale dramatic formula of the sort taught in elementary playwriting classes.
  21. This claustrophobic mess of a movie offers only carnage.
  22. A new, not very engaging movie featuring a lot of blue skin and household-name voices.
  23. Premature bops along with a wiseacre self-awareness and a nimble cast... But Mr. Beers and his fellow screenwriter, Mathew Harawitz, also have a numbing Seth MacFarlane-esque weakness for purely attention-getting crudeness and unfunny stereotypes.
  24. May be humorless, paranoid nonsense, but its biggest failure is its inability to scare.
  25. Plays like a middling episode of “Law & Order: SVU,” drawn out an extra half-hour and embellished with pretentious literary and cinematic flourishes.
  26. Predictability and clichés get in the way of comedy here, especially with a lead character who rarely comes across as more than blandly sweet.
  27. The re- enactments, however fascinating they may be as history, are too crude to serve the work especially well.
  28. 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.
  29. Makes no psychological sense. Even within the convoluted realm of film noir, the development of the relationships defies any logic.
  30. It’s all just so much empty eye candy.

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