The New York Times' Scores

For 8,985 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Sunshine State
Lowest review score: 0 InAPPropriate Comedy
Score distribution:
8,985 movie reviews
  1. Icky, nasty, calculatingly odd and a little funny, though more often strained and inadvertently absurd, After.Life changes its mood and apparent intentions from scene to scene, sometimes minute to minute.
  2. Watching the first half-hour of Tooth Fairy is like reaching into a grab bag of novelties, as the movie unveils its tricks... After that, the wit more or less evaporates, replaced by bloated sentimentality and clumsy plot exposition.
  3. It's a movie best appreciated for the costumes, the sets and Ms. Theron's haughty athleticism.
  4. The star does his patented shtick, supported by a handful of blue-chip supporting performers, as the story lurches through contrived, seminaughty comic set pieces toward a sentimental ending.
  5. Some of the performances show flashes of idiosyncrasy and flair that are nearly snuffed out by the pedestrian script.
  6. A thriller wrapped in heavy-duty gauze to muffle the chills.
  7. You don't have to be a horror-movie scholar to know that nothing significant is going to happen in any movie with "2" in the title; the creature has to stay around long enough at least to complete a trilogy and fill out a nice boxed set of DVD's.
  8. In the end the elaborate gimmickry of Inspector Gadget cannot conceal its very ordinary storytelling.
  9. The movie is so sloppily written and directed that its bits of bluster never cohere.
  10. A smorgasbord that seems to have been picked out of a Dumpster. It clumsily combines a fish-out-of-water story with bits lifted from sources including the "Terminator" movies, "Star Wars," "Starman," "Close Encounters," a couple of Pink Floyd albums and H. G. Wells.
  11. The simplicity of the tale becomes a bit tedious.
  12. A series of gun battles follow, none staged with quite enough verve or imagination to break through the pervasive torpor.
  13. Lethal Weapon 3 isn't that much worse than the two earlier films.
    • 36 Metascore
    • 40 Critic Score
    Most regrettably, War squanders the considerable merits of its leads.
  14. Its serious intentions notwithstanding, Beware the Gonzo is essentially a comedy with a mean streak; its portrait of the big man on campus is truly venomous.
  15. Of all the modes of modern alienation, there is none so persistent and arbitrary as finding oneself trapped in a glacially paced European art film.
    • 36 Metascore
    • 20 Critic Score
    A pointless exercise in sadism.
  16. Written and directed with overwhelming earnestness by Debra Kirschner, The Tollbooth can't overcome Sarabeth's self-involved narration and insipid personality.
  17. Louder and more literal than its inspiration, The Eye benefits from a spiky performance by Alessandro Nivola as Sydney’s rehabilitation counselor. “Your eyes are not the problem,” he tells her at one point. He is so, so right.
  18. A generally entertaining but half-baked variation on Richard Linklater’s high school period piece, “Dazed and Confused” (made in 1993, set in 1976), Remember the Daze (set in 1999) takes its cue from the earlier film in an excess of ways.
  19. Employee of the Month is more tired than a Wal-Mart greeter at the end of a Saturday shift. One can only hope its halfhearted suggestion that winning isn't everything is some comfort if the movie's grosses are as disappointing as its jokes.
  20. Barely written and stiffly directed.
  21. With The Canyons, [Mr. Schrader] tries to get at something real under all the hard, glossy surfaces, but ends up caught in the divide between the movie that he seems to have wanted to make and the one he did.
  22. There is a real subject here, and it is handled with intelligence and care.
  23. Even by the crude standards of teenage horror, Final Destination is dramatically flat.
  24. But for all its provocation, Kedma is an often dull, incoherent film, and its characters remain frustratingly sketchy
  25. If Ms. Bynes keeps going in this direction, she can conceivably develop a gallery of characters as rich and varied as Tracey Ullman's.
  26. This movie is Ms. Davis's fourth film as a director, and she has a bright, chipper style that keeps things moving, while never quite managing to connect her wish-fulfilling characters to the human race. Like someone who smiles too much, Amy's Orgasm seems rather sad at heart.
  27. A well-cast disaster movie more notable for special effects and stunts than for credible drama.
  28. A standard, gadget-crazed exercise in whiz-bang adventure with its tongue lodged deep inside its cheek.
  29. What Lotus Eaters can take pride in are Gareth Munden’s stunning black-and-white cinematography and Ms. Campbell-Hughes, a riveting visual subject suggesting miles of internal depth. She makes this wallow in callow company watchable.
  30. Reuben is a whiny and uncoordinated prodigal son. His constant chafing at himself and the world is the film's biggest problem; by the midway point we're all wishing him back in Finland where he belongs.
  31. As these overwritten characters cope and make fresh romantic missteps, the movie cruises obliviously along, littered with glib dialogue and howler developments.
  32. A movie like this can survive an absurd premise but not incompetent execution. And Mr. LaBute, never much of an artist with the camera, proves almost comically inept as a horror-movie technician...It's neither haunting nor amusing; just boring.
  33. The Jackal, like most expensive thrillers nowadays, knows how to do gadgets, pyrotechnics, underground subway chases and panicked crowd scenes. But except for Mr. Gere's uphill battle, it has only the vaguest idea of how to do people.
  34. Cess Silvera, the film's writer and director, doesn't find any of the humanity or inner demons that would allow the characters to rise above B-movie exploitation.
  35. there is so little genuine wit to be found in ''Clue.'' The film does have a speedy pace, but that could hardly be confused with Mr. Hawks's madcap humor; instead, it involves a lot of running around through secret passages, and some slapstick routines involving dead bodies. The actors are meant to function as an ensemble, but that merely means that they often repeat the same line simultaneously.
  36. So oblivious to genre that it occupies its own special stylistic niche, if you can imagine such a thing as a romantic revenge farce.
  37. An ill-advised sequel to "Are We There Yet?" and a feeble fable of better parenting through home improvement.
  38. If "Wall-E" pushes the boundaries of what can be done in an animated movie, Space Chimps proves that the old formula is still pretty effective when executed well.
  39. The script, by Chris Haddock, leaves numerous questions unanswered. It also reflects the character depth and conversational complexity of a 14-year-old’s first effort at fiction.
  40. The Son of No One self-destructs in a ludicrous, ineptly directed anticlimactic rooftop showdown in which bodies pile up, and nothing makes a shred of sense.
  41. The fascist undercurrents of this battle remain unexplored. Maybe one day, Hollywood will figure out that pouring acting-challenged starlets into black neoprene and sticking them in front of a blue screen do not a movie make. We can but hope.
  42. There is also much in The Art of Getting By that is worth praising, and if you can grade on a curve - setting the standard at "The Wackness" rather than "The Squid and the Whale" - you may find yourself touched, tickled and occasionally surprised.
    • 36 Metascore
    • 30 Critic Score
    My Uncle Rafael stumbles over forced plotting and setups and falls prey to its hero's avuncular mushiness.
  43. Seriously depleting the skanky-villain bin at central casting, the moronic thriller Gone stars Amanda Seyfried as Jill.
  44. More focused on surface than true revelation.
  45. Alternately grisly and dull, with few surprises. [12 June 1987, p.C6]
  46. For all of his personal familiarity with the material, Mr. Provenzano has turned out a movie that largely owes its tone and style to other movies.
  47. A passionate but messy, often inarticulate home movie.
  48. It could be worse, and would be without Bette Midler or Marisa Tomei.
  49. The characters never transcend the clichés embedded in the culture since "The Godfather."
  50. In critical ways, the movie is a mess. The basketball scenes are so sloppy and haphazard that the would-be slapstick registers as confusion. But away from the court, the actors bring their caricatures to folksy comic life.
  51. A clutter of recycled cop-movie and serial-killer film clichés.
  52. Its message is quite simple and all too familiar: when it comes to sex, all men are little boys.
  53. The cinematographer-turned-director likes his MTV-style editing so much that in his drive for hyperkinetic overkill he sacrifices coherence to wallow in barely contained chaos.
  54. The gags, like the plotting, have a giddy edge that can be sharp, but just as often they go nowhere.
  55. Sweetness and whimsy fill the screen to capacity in I'm Reed Fish, a rural coming-of-age tale that's so laid-back that its cast is almost horizontal.
  56. One of the most undermotivated plots in many a moon, the zero-wit, zero-gravity misadventures of Nat, I.Q. and Scooter are embarked on merely because they're bored on their garbage dump.
  57. Filled with awful, recycled jokes.
  58. Mr. Momoa has some awfully big biceps to fill. He rises to that task with a pumped physique made for ogling. Thankfully, he also shows glints of self-awareness that can make hypermasculine blowouts like these more watchable and were largely missing from Mr. Schwarzenegger's wide-eyed turn in the first "Conan the Barbarian" (1982).
  59. One of the more watchable films of the summer. A folly, true, but watchable.
  60. 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.
  61. 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.
  62. Even the walls seem to be sweating something viscous and unpleasant.
  63. The picture is obsessed with strength and the use of physical force, though its attitudes are often slippery.
  64. 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.
  65. 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.
  66. This mistaken-identity picture is so film-culture referential that the final product is a ghost.
  67. It feels like a halfhearted bluff and has the stale smell of yesterday’s after-shave.
  68. The Nut Job features muddy-colored and often ugly animation, a plot that feels too stretched out and loaded with details to hold the attention of most children, and more flatulence jokes than anyone deserves.
  69. The film's many voids are not meaningfully filled by all the monsters and assembly-line workers that crop up.
  70. 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.
  71. For all the shooting, knifing and nattering about sleeper cells, the film feels weirdly static and terminally tired.
  72. 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.
  73. Almost creates a sense of dread as you sit watching its raft of aimless, self-absorbed neurotics clang into one another.
  74. 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.
  75. 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.
  76. 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.
    • 36 Metascore
    • 50 Critic Score
    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.
  77. A polemic masquerading as a movie, Poster Boy unspools like a humorless lecture on right-wing homophobia.
  78. Feels like a desperate attempt to stretch a flimsy half-hour made-for-cable concept into a feature film.
  79. A sweet, sincere labor of love that just isn't very good.
  80. 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.
  81. 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.
  82. 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.
  83. 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.
  84. Stardom makes its metaphor of 15 minutes seem like a lifetime.
  85. Repackaged as cyberthriller, the old time-travel adventure returns in this stylish but overplotted and ultimately illogical combination of science fiction, mystery and romance.
  86. The only remotely notable thing about this particular jumble of boos, bangs and door that it tries to wed the horror trend with the heated-up God market.
  87. Sluggish and derivative, I Am Number Four is another elaborate puberty metaphor with superpowers substituting for testosterone.
  88. Because its director, Tom Vaughan, brings nothing of interest to the movie, including filmmaking, there isn't anything to say other than to note its insulting ugliness and ineptitude.
  89. Although the stunts come thick and fast in The Pink Panther 2, they are jammed together in a way that gives most of them barely enough time to register.
  90. The film version is now being granted a limited release. Exactly how limited will depend on your tolerance for tasteless behavior, extravagant overacting and a decibel level to rival the unveiling of Oprah’s Favorite Things.
  91. The most dispiriting thing about Something Borrowed is that with a little more art, craft and wit it could have been a lot better, maybe even good.
  92. This latest recycling of foreign-grown frights shows less interest in horror than in healing.
  93. A lollapalooza of delectable cheap thrills.
  94. Admirable but unfocused.
  95. Rambo's self-important, weight-of-the-world manner and his taste for political posturing would make him genuinely silly were they not counterbalanced by Mr. Stallone's startling, energetic physical presence and the film's stabs at self-mocking humor.

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