The New York Times' Scores

For 9,991 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 Sugar
Lowest review score: 0 Grown Ups
Score distribution:
9,991 movie reviews
  1. Disappointingly shallow and not terribly funny romantic comedy.
  2. Not entirely without charm.
  3. Mr. Boyle's brand of heaven-sent love story comes with a strange and whimsical mean streak. Tender thoughts and ha-ha shootings don't automatically mix.
  4. That Mr. De Niro and especially Miss Fanning manage to register through all this murk is a testament to their talent, which however squandered does nonetheless shine.
  5. You can only imagine how much stronger the movie might have been had it fleshed out subsidiary dramas whose outlines are barely discernible.
  6. Film Geek has a likable premise, an unusual setting in downtown Portland, Ore., and a pleasantly homemade indie feel. Unfortunately, Scotty Pelk, as written by James Westby and played by Mr. Malkasian, is actually so irritating, so genuinely hard to take, that like the rest of the characters in this semiautobiographical movie, we soon find ourselves itching to get away from him.
  7. But the film, written by Phoef Sutton and Lisa-Maria Radano and directed by Richard Benjamin in a style cute enough to peel paint off the walls, can't do much to generate romantic sparks between its two young leads.
  8. This new version is mindless hot-rodding fun, especially for those with a weakness for vintage cars hurtling down city streets, a group whose members include -- sigh -- me.
  9. Proves that a movie about goodness is not the same thing as a good movie.
  10. For all the talk of artistic and amorous passion, the film is trapped in snobbish inertia; its idea of period drama amounts to a kind of highbrow name- dropping.
  11. This poor-surfers-make-good drama from Morgan O’Neill and Ben Nott relies more than it should on toned thighs and taut gluteals. Be grateful; there’s nothing to see on dry land that’s anywhere near as compelling.
  12. Dopey, derivative and dull, The Host is a brazen combination of unoriginal science-fiction themes, young-adult pandering and bottom-line calculation. That sounds like it should work (really!), but it never does, largely because the story is as drained of energy as are its moony aliens.
  13. Ma Mère may be ludicrous, but its cast displays a commitment that deserves more than grudging admiration.
  14. This unwieldy amalgam of science fiction and horror, directed by Paul Anderson, douses almost every scene with glitzy special effects in a futile attempt to cover up a paucity of thought.
    • 35 Metascore
    • 40 Critic Score
    Like "The Wiz," though, Xanadu is desperately stylish without having any real style. A dance number featuring two teams of dancers -one group dressed as punks, the other in 1940's garb - winds up a terrible mess, because the two groups aren't dressed or choreographed to have anything to do with one another.
  15. Mr. Spurlock's film already feels a few years late to the discussion of an easily mockable subject, but it is a dud as a diversion.
  16. Ms. Bledel works her “Gilmore Girls” charm to the hilt, but no amount of cerulean-eyed sparkle can transcend this level of thudding mediocrity.
  17. Despite the rococo obsessiveness of its special effects and its voracious sampling of past horror movies, Van Helsing is mostly content to offer warmed-over allusions and secondhand thrills.
  18. Had it exhibited a modicum of restraint, The Forsaken could have been twice as scary.
  19. As A Rumor of Angels reveals itself to be a sudsy tub of supernatural hokum, not even Ms. Redgrave's noblest efforts can redeem it from hopeless sentimentality.
  20. Like a zombie picture directed by one of the undead.
  21. Ms. Depentes and Ms. Thi -- push such chic amoralism to its logical conclusion, composing a numbing alternation of pornographic scenarios and brutal killings. The result is like something you'd see momentarily unscrambled on a hotel television set, but with better music and a little more of a story line.
  22. As the downward spiral continues, "drugs are evil" is pounded into our heads again and again until numbness sets in; in this case, even a touch of subtlety would have sent a more powerful and lasting message.
  23. Shirley’s instant metamorphosis from insecure high school student to ruthless madam is ludicrous in spite of the best efforts of the talented Ms. Waterston to convince you otherwise. The Babysitters has the increasingly jerky momentum of a film that was butchered in the cutting room, sacrificing continuity and character development to whip the plot forward.
  24. Woody Allen proved long ago that the self-pitying introvert is a fit subject for a movie, but only if the film has a strong enough sense of humor to make us laugh at ourselves. But Brooks Branch, who directed Multiple Sarcasms and wrote the screenplay with Linda Morris, was either too lazy to come up with the absurdist aphorisms that might give Multiple Sarcasms a lift, or he labored under the delusion that Gabriel’s metaphysical malaise is such a fresh idea that it deserves microscopic inspection.
  25. Teeming with smart American humorists - and a passel of Arquettes - all unconditionally admiring. What's astonishing, then, is that not one of them stepped in to dissuade their friend from participating in such an embarrassingly awful project.
  26. As is the case with other unsatisfactory diversions, it is entirely possible to ignore the worst parts of this movie, to drift along during the lulls, slide over the half-baked jokes and just wait for Ms. McCarthy and Mr. Bateman to do their things.
  27. Nearly every one of the film's emotional scenes is too predictable to hit its mark, but Mr. Jones's dry delivery has its moments.
  28. Mr. Hernández doesn't always grab what he's reaching for -- his talent soars untethered by discipline -- but the thrust of his effort lights up the sky.
  29. A business course on cutthroat capitalism disguised as a slacker comedy: That’s the kindest way to describe Michael Lehmann’s Flakes.

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