The New York Times' Scores

For 10,059 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:
10,059 movie reviews
  1. One of the more watchable films of the summer. A folly, true, but watchable.
  2. A vile, witless sex comedy.
    • 36 Metascore
    • 40 Critic Score
    Aside from a stunning three-minute tracking shot as the gang pursues Nick through a parking garage, and Mr. Bacon’s hauntingly pale, dark-eyed visage, Mr. Wan’s film is a tedious, pandering time-waster.
  3. The film borrows themes and cast members from HBO's "Sopranos," but the script lacks the nuance and wit of that series's creator, David Chase.
  4. The actors don’t just look uncomfortable in their period duds, they also look uneasy in their own skins, which is a feat for two such natural, physically confident screen performers.
  5. Even the walls seem to be sweating something viscous and unpleasant.
  6. The picture is obsessed with strength and the use of physical force, though its attitudes are often slippery.
  7. His (Culkin's) performance is earnest and brave, but also mannered when it should be un-self-conscious, and awkward when grace is called for.
  8. As the movie methodically plods forward on a screenplay (by Shawn Slovo) consisting entirely of clichés and watered-down exposition, it becomes sadly apparent that its only reliable asset is the gorgeous view.
  9. This mistaken-identity picture is so film-culture referential that the final product is a ghost.
  10. It feels like a halfhearted bluff and has the stale smell of yesterday’s after-shave.
  11. The film's many voids are not meaningfully filled by all the monsters and assembly-line workers that crop up.
  12. This portrait of 20-something gay men and their straight friends is a joyless exploration of middle-class deadbeats (with the exception of Ephram) lost in a torpid funk of low self-regard. Because they’'e not rich, there is no sleazy zing of "Less Than Zero"-worthy glamor.
  13. For all the shooting, knifing and nattering about sleeper cells, the film feels weirdly static and terminally tired.
  14. Before Silver hijacks the plot, Rodrigo Cortés's smart, talky screenplay and tense direction hold our attention, as much for the unpredictability of the story as the ease with which Sigourney Weaver and Cillian Murphy slide into their roles.
  15. Almost creates a sense of dread as you sit watching its raft of aimless, self-absorbed neurotics clang into one another.
  16. Maintaining a winking distance from his comic persona, Mr. Spade radiates a cunning show-business cynicism that lets you know he's aware that he's slumming to make a buck.
  17. Both grueling and dull. Imagine (if possible) a Pasolini film without passion or politics, or an Almodóvar movie without beauty or humor, and you have some idea of the glum, numb experience of watching O Fantasma.
  18. The movie builds to a human-versus-alien showdown so sloppily staged that it makes little visual sense. The bargain-basement pyrotechnics suggest that much of The Watch was filmed on autopilot on a strict budget.
  19. It’s the subtexts -- about minority kinship and Hispanic self-actualization -- that resound. If only its fable (and leading man) didn’t keep getting in the way.
  20. A polemic masquerading as a movie, Poster Boy unspools like a humorless lecture on right-wing homophobia.
  21. Feels like a desperate attempt to stretch a flimsy half-hour made-for-cable concept into a feature film.
  22. A sweet, sincere labor of love that just isn't very good.
  23. A grubby, lethally dull bid to cash in on the new extreme horror, the film turns on a conceit as frayed as Freddy Krueger’s shtick.
  24. This talking-animal tale - has old-fashioned backgrounds that occasionally achieve a touch of grandeur, but that's about the best that can be said for it.
  25. A very shallow comedy. For the real thing, rent “The Ref,” in which Kevin Spacey and Judy Davis, with a boost from Glynis Johns, set the house on fire.
  26. Eyes popping and mouths agape, Martin Lawrence and Raven-Symoné mug their way through College Road Trip as if it were a silent movie -- which, come to think of it, would have been a lot less irritating.
  27. The Captive seems tailor-made to explore the psychological damage that a child can suffer over a lengthy confinement, but instead leans too heavily on the chilly desolation of Paul Sarossy’s cinematography. What’s going on in the victim’s mind, or anyone else’s, is as invisible as what lies beneath the snow.
  28. Stardom makes its metaphor of 15 minutes seem like a lifetime.
  29. Repackaged as cyberthriller, the old time-travel adventure returns in this stylish but overplotted and ultimately illogical combination of science fiction, mystery and romance.

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