The New York Times' Scores

For 9,542 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 Summer Palace
Lowest review score: 0 Grown Ups
Score distribution:
9,542 movie reviews
  1. The earlier “Alvin” movie made more than $217 million just in the United States. It’s hard to imagine this somewhat confused sequel doing as well.
  2. With a little more subtlety - and a lot less predictability - the movie might have played more like a thoughtful drama and less like an outrageous exercise in wish fulfillment.
  3. For all its many irritations, You Wont Miss Me has undeniable punch, a frayed energy that feels janglingly unstable. Is Shelly crazy or just a pain in the neck? We're not really sure, and neither is she.
  4. That it eventually - if barely - succeeds is due more to the resilience of its actors than to the discipline of its makers.
  5. It feels warmed over, devoid of urgency and, in spite of Mr. Broomfield's on-camera displays of doggedness, lacking in curiosity.
  6. Following Bollywood's tradition of excessive generosity, Mr. Gupta tosses in too much of just about everything, resulting in a two-and-a-half-hour film that may exhaust some viewers.
  7. This would-be spicy film has been made blandly palatable.
  8. Far from being a typical Hollywood desecration of a difficult play, it stays true to the work's quirky, renegade spirit.
  9. In this elongated, formula-ridden sitcom posing as a movie, the date-weary Manhattan singles exchanging acerbic banter suggest the tougher, far less intellectual offspring of Woody Allen characters drenched in a whiny Seinfeldian dyspepsia.
  10. The movie's relentless comic excess is ultimately a little exhausting. But the longer the series endures, the more likely it is to achieve classic cult status.
  11. This Frankenfilm comes lumbering out of the laboratory of the Danish director Harald Zwart, any trace of personality surgically removed and replaced by a fully road-tested cliché.
  12. Ms. Streisand hasn't been called on to deliver an immortal or even interesting performance, but she is a pip to watch.
  13. Whatever it intends, Jesus Henry Christ is not especially funny. There are witticisms galore in both the thematically recurrent imagery and the dialogue, but very few qualify as jokes, and any laughter is hard to come by. Willfully zany would be a more apt description.
  14. It is the absence of genuine comedy that exposes glaringly the film's fundamental attitude of condescension and scorn toward blacks and women, and a tendency toward stereotyping that clashes violently with its superficial message of tolerance, compassion and fair play.
  15. A wondrous and slightly deranged story about oddballs embracing their differences.
  16. The movie bubbles with incest, adultery, religion and homosexuality -- steamy themes that incite the cast to fits of enthusiastic overemoting.
  17. First Sunday sometimes feels more like a script read-through than like an actual movie, but its warmth is likely to carry you through the stretches of cliché and tedium.
  18. It may be too much to ask for anything more, but, on the other hand, if you’re going to go to the trouble of pretending to blow up the White House, you might also want to pretend that something was at stake.
  19. The writer and director, Jeff Wadlow, can’t obscure the movie’s misogyny, and he also has a tough time staging a scene and selling a joke. His worst offense is that he has no understanding of the power, gravity and terrible beauty of violent imagery, which means he has no grasp of cinema.
  20. The film, written and directed by Robert Ben Garant and Thomas Lennon, rarely dares to be smart, settling instead for familiar gags that would have the Devil himself yawning.
  21. Free Ride offers an unsettling vision of a demimonde whose inhabitants live with the reality that there may be no tomorrow.
  22. It’s not clear what Aram Garriga thinks he is accomplishing in his simplistic “American Jesus,” but he’s not accomplishing much.
  23. Marc Forster takes a maximalist approach to this mumbo jumbo, which means that in addition to lots of wacky angles, shiny surfaces, seemingly endless stairs, and sets of twins, triplets and quadruplets, he deploys the unsettling vision of three talented actors - Ewan McGregor, Naomi Watts and Ryan Gosling - straining credulity and neck tendons in the service of serious claptrap.
  24. A whopping wrong turn throws this lightweight, benign-looking movie terminally off course.
  25. A swaggering journey into hell that conveys a chortling amusement at its own apocalyptic imagination.
  26. This escapist comedy is so cheerfully outlandish that it's hard to resist, and so good-hearted that it's genuinely endearing.
  27. If the film's old-movie homages are affectionate, they're slavishly imitative and scattershot, and the story is so willfully daffy that not even the hint of a subtext asserts itself. The film rides on the dubious assumption that camp and infantilism are the same thing.
  28. On one level, a stereotypical mash of Greek cruelty, queer poetry slams and rabid activist rhetoric. But beneath the tired crudeness and college-romp clichés, the movie is gently perceptive about the malleable nature of sexuality and the barriers we construct to hide our confusion.
  29. The movie plows through one outrageous sequence to the next with the momentum of a freight train.
    • 41 Metascore
    • 40 Critic Score
    So ploddingly directed (by Steven Brill) and lazily written that it adds up to little more than a diffuse collection of second-hand gags and jokes, few of them funny.

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