The New York Times' Scores

For 9,775 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 Alien Girl
Score distribution:
9,775 movie reviews
  1. A shallow yet empty action extravaganza.
  2. This picture is mostly a lump of run-of-the-mill profanity sprinkled with a few remarks so geared toward engendering audience sympathy that you might think he was running for office -- or trying to win over a probation officer.
  3. Amusing one-joke film.
  4. Weightless. It is also, unfortunately, without much point at all... A movie of random effects and little accumulative impact.
  5. Wants to be everything and adds up to nothing. "War" is a film that tries to excel on several levels and falls flat on all of them.
  6. Mr. Cattaneo restricts himself to the smiling blandness that has become the stock in trade of British comedies made for export, turning in a film that is forced, familiar and thoroughly condescending.
  7. This clunky juvenile comedy lurches among multiple story lines without fully realizing the comic potential of any.
  8. In trying to be both bold and nonthreatening, the movie ends up seeming tame and mildly offensive.
  9. If you're looking for a 90-minute post-teen soap opera with pretty people, ludicrous hairpin turns and a whopper of an ending, the movie will keep you mindlessly off balance.
  10. This may be the first movie that runs under two hours and yet has no attention span. Characters are abandoned and picked up; narrative threads dissolve before your very eyes.
  11. Has some funny, dirty-minded jokes, a few amusing cameos (including Julianne Moore in clown makeup) and a soundtrack loaded with juicy cuts of mid-70's vintage soul and funk.
  12. May have had the unintended effect of obscuring the original it meant to honor.
  13. Remains a sadly earthbound thing, mired in a dismal realism that lies far from its natural environment.
  14. A chilly machine-tooled comedy.
  15. 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.
  16. For much of the movie, the kinetic furor of the game sequences helps camouflage the weaknesses of a screenplay that is a mechanically contrived series of power struggles.
  17. Couldn't be more artless.
  18. The film dissolves into a series of diminishing anticlimaxes, ending on a note of portentous ambiguity. To the last, Mr. Levin maintains his uneasy balance of reportage and melodrama.
  19. Sergio's urban melodrama Under Hellgate Bridge suggests the contemporary equivalent of any number of 1930's B movies.
  20. Metamorphoses from a character study into a confusingly edited sampler of sexual possibilities that feels both programmatic and old-hat.
  21. Despite its sociological tidbits and flashes of musical vitality, Saudade do Futuro never goes anywhere.
  22. The product is so synthetic it has only attitude where its heart ought to be.
  23. Overplotted, hollow thriller.
  24. I don't know how much The Score cost, but it's pretty close to worthless.
  25. The re- enactments, however fascinating they may be as history, are too crude to serve the work especially well.
  26. Its bone-deep willingness to do anything to entertain is exhausting.
  27. Seems both overplotted and underimagined, though there is at least some creativity and a dose of realism, evident in the hairstyles themselves.
  28. Dramatically as well as visually, The Musketeer conflicts with itself by trying to blend grand old- school costume drama and MTV- style rhythm and attitude into the same movie. The juxtapositions are often preposterous.
  29. So narratively garbled and its screenplay so underwritten that you have to strain to piece together the story.
  30. A washout.
  31. Like a ham-fisted high-concept public service announcement, directed with stagy deliberateness and written with tin-eared vernacular speechiness.
  32. Feels like an early rehearsal for a play where all the movement is being coordinated but the underlying emotional notes have yet to be set.
  33. Like its title, it's a clumsy contraption.
  34. The movie doesn't turn out to be as benignly right-wing as it initially suggests, though the plot turns can be spotted a mile away.
  35. A modest but engaging mixture of comedy and drama that derives most of its energy from the performance of Callie Thorne.
  36. It's sad and misguided and boring.
  37. A muddled film with John Waters aspirations.
  38. A candy-colored, unabashedly sentimental movie.
  39. Forlorn melodrama, which is low on drama and high on mellow.
  40. Clearly, this is an affair to forget.
  41. Two ridiculous blood-soaked hours.
  42. Could serve as a textbook example of what to avoid in nonfiction filmmaking.
  43. By interweaving several stories, the movie suffers from a peculiar multiplier effect: it deepens its shallowness.
  44. Loses its way in rhetorical excess and blatant sentimentality.
  45. (Shue's) sweetly likable performance is the only coherent element in a film that has the impersonal feel of a television drama slapped together in a rush.
  46. Like a soft drink that's been sitting open too long: it's too much syrup and not enough fizz.
  47. The guiding philosophy of The Price of Milk seems to be that if you throw something on the screen and call it a fairy tale, it has to mean something. But it doesn't.
  48. Suffers from a fatal lack of modulation. It paints a picture of inner-city life as an endless sequence of beatings and shouting matches, and in its glum cartoonishness insults the people whose strivings it means to honor.
  49. Seems a little too desperate to be liked.
  50. Might be described as a muddy, cliché-ridden sudsfest that lurches uncertainly between comedy and soap opera without finding its emotional or visual footing.
  51. Bland, unrevealing.
  52. Filled with voyeuristic shots as the camera peers through picket fences and windows and around corners; the film looks as if it were shot with a surveillance camera from a 7-Eleven
  53. The movie is like spending an idle afternoon browsing, and not buying.
  54. As flimsy and manipulative as the shallowest Hollywood fantasy.
  55. So disorganized that it seems to be pulling its conclusions out of its pockets, along with scraps of paper, matches, lint and half-forgotten junk.
  56. It might have been a satisfying if not terribly original piece of historical melodrama, but its clumsiness turns it, against its best intentions, into half-baked operatic kitsch.
  57. Advance word of mouth has suggested that Ms. Basinger...turns in a performance comparable to Meryl Streep's in "Out of Africa." Would that it were so. Ms. Basinger certainly works hard at her role.
  58. By the end the most vivid figure on the screen is the lovable doggie who goes wherever dangling fingers are waiting to give the happy pooch a scratch.
  59. Strives desperately for a zaniness that is largely absent from the screenplay and from comic performances that are too blank and unfocused to register as parody.
  60. Works hard at being charming, but comedy is best when it looks effortless.
  61. Goldie Hawn and Steve Martin are appealing performers, but none of the energy, professionalism and gameness they display -- can surmount the mess that surrounds them in this misguided comedy.
  62. But for all its provocation, Kedma is an often dull, incoherent film, and its characters remain frustratingly sketchy
  63. Appears to be a somewhat sinister episode of "Nightline."
  64. Some kind of equality has been achieved when it is impossible to distinguish heterosexual clichés from homosexual ones.
  65. The relentless upbeatness of Life or Something Like It wrecks the possibility of either real laughter or genuine pathos.
  66. This time Mr. Burns is trying something in the Martin Scorsese street-realist mode, but his self-regarding sentimentality trips him up again.
  67. Alternately grisly and dull, with few surprises. [12 June 1987, p.C6]
    • The New York Times
  68. Should soon join Mr. Greenaway's last few efforts in obscurity.
  69. Mr. Carpenter has directed the film with B-movie bluntness, but with none of the requisite snap. And his screenplay (written under the pseudonym Frank Armitage) makes the principals sound even more tongue-tied than they have to. [4 Nov 1988, p.C8]
    • The New York Times
  70. The dialogue reports funny things instead of showing them. The movie remains in a limbo halfway between the informed anarchy of Monty Python comedy stripped of all social and political satire, and the comparatively genteel comedy of "The Lavender Hill Mob." [15 July 1988, p.C8]
    • The New York Times
  71. Disturbingly superficial in its approach to the material.
  72. Starts on a note of relative naturalism and under Mr. La Salle's nuanced direction gradually becomes more and more unhinged until it concludes in an altogether different genre.
  73. It has the melancholy mildew of both "Marty" and the 1940's weepie "The Enchanted Cottage."
  74. Less interested in politics than in profitably flattering the suspicions and resentments of its intended teenage audience.
  75. A piece of moldy wax fruit if ever there was one.
  76. Not even bags of body parts, a bitten-off tongue or a man forced to cut off a pound of his own flesh keep it from being dull. [22 September 1995, p. C18]
    • The New York Times
  77. An unfocused, overplotted, painfully derivative comic fantasy.
  78. This dumb, only intermittently (though sometimes even intentionally) funny sequel presumes that since almost everything else from the 1980's has come back, why not the cynosures of the "Nightmare on Elm Street" and "Friday the 13th" movies?
  79. Disappointingly shallow and not terribly funny romantic comedy.
  80. A movie that pits a substantial actor like Mary McDonnell, playing a New York madam, against a bogus story that crossbreeds noirish affectations and romantic comedy into an unpalatable mush that suggests strawberry ice cream slathered with beer.
  81. An unholy, incoherent mess.
  82. This movie, a chaotic caper film at heart, wrecks its comic tone with some moments of gruesome violence.
  83. The movie equivalent of a box of Froot Loops followed by a half-gallon Pepsi chaser.
  84. They play cotton candy effigies of themselves named Kelly and Justin, and the best that can be said is that they don't embarrass themselves.
  85. A grindingly conventional comedy that insists on tying up its subplots in pretty ribbons and bows.
  86. Emotionally incoherent.
  87. Before Civil Brand erupts into over-the-top melodrama (which is pretty early), it shows some interest in its characters, and in its less screechy moments the dialogue has the rough, bantering ring of actual speech.
  88. The movie, which is crudely dubbed into English, lacks the raucous, anything-for-a-shock carnival humor of its American prototypes. After it's over, the only question worth asking is whether dear, cozy old Heidelberg can survive the slander.
  89. The results, to judge from the examples here, have been stuffy and disappointing, an unholy alliance between Playboy Channel prurience and PBS cultural alibis.
  90. It's like watching two superbly conditioned rowers try to race a boat made of folded newspaper. Hard as they work, they just can't make it go any faster.
  91. Admirably high-minded and visually gorgeous but fatally anesthetized by its own grandiosity.
  92. The movie works so diligently to convey a spirit of heroic uplift and fails so completely that it feels like a tragic misfire.
  93. Such few assets aren't enough to alleviate the film's shallowness.
  94. Rob Schneider runs an obstacle course of taste and emerges remarkably unsullied, considering the choices he faces.
  95. Unfortunately, the movie's real setting is a sentimental fantasy world, and its story is a spectacularly incoherent exercise in geopolitical wish fulfillment.
  96. Little more than a loose- jointed succession of goofy "Saturday Night Live"-style sketches and sight gags inspired by an actual event that is nearly half a century behind us.
  97. The home-movie crudeness of Dead or Alive: Final indicates it was made on the cheap with minimal preparation.
  98. Like a zombie picture directed by one of the undead.
  99. Affirms that soft-core porn is alive and well in cyberpunk.
  100. As long on adrenaline and special effects as it is short on genuine novelty and intellectual content.

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