The New York Times' Scores

For 12,491 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Hours
Lowest review score: 0 Elite Squad
Score distribution:
12491 movie reviews
  1. My Dead Boyfriend desperately tries to look and sound like a quirky indie hit, but that’s not an achievable goal when you have an unlikable lead character indifferently rendered by a name star.
  2. A messy collision of strained portrayals, semi-comic incidents and tear-jerking tactics.
  3. Harnessing mostly fine actors to a wholly asinine script, the directors, Melisa Wallack and Bernie Goldmann, have created a movie as spineless and dithering as its benighted namesake.
  4. Unlike the juicy, overripe prose in the novel from which it was adapted, Mr. DeCubellis’s screenplay is utterly lacking in style. Mr. Brody captures his character’s attitude, but the colorless screenplay robs the character of literary imagination.
  5. Hallie's dad said it was Rocky Horror for toddlers whatever that is. Me and Hallie are 7 and we thought it was for babies.
  6. Pointing at everything and elucidating nothing, Hello Herman arrives freighted with the anti-bullying agenda of its director, Michelle Danner.
  7. The indecipherable motivations and half-baked subtexts present formidable challenges to the cast and the audience.
  8. In the end, the filmmaker’s message is nearly lost in this poorly constructed film.
  9. In general, the film feels like all setup and no punch line.
  10. A movie that is as stuffed with bogus feeling and overwrought incident as a fast-food burrito.
  11. Muddy sound contributes to the atmosphere of confusion, while the script (credited to the director, Nick Gaglia, along with Mr. Gallagher and Ms. Donohue) goes nowhere.
  12. As witless as it is formulaic.
  13. Nothing in the picture works. It is both overwrought and tedious, its complicated narrative bogging down in lyrical voiceover, long flashbacks and endless expository conversations between people speaking radically incompatible accents.
  14. The movie’s only fresh element is the wintry setting, which shrouds everything in a mood of weary fatalism. Otherwise, it’s the same old, same old, efficiently discharged and utterly disposable.
  15. For all its intimations of fire and brimstone, the film isn't remotely frightening, and the high-school-level acting doesn't help.
  16. The biggest offender is the director, Imtiaz Ali, who, also again collaborating with Mr. Kapoor, actually celebrates two love affairs: Ved and Tara’s, and (given Ved’s universal adulation) Mr. Ali’s with his own self-aggrandizing vision of his calling.
  17. In his sour little movie When Do We Eat?, the director Salvador Litvak, like many before him, misses the target, landing instead in the adjacent territories of Tries Too Hard and Bad Taste.
  18. Something is off with Every Thing Will Be Fine. Even for a movie about a writer detached from his emotions, it’s ponderous, like a lucid dream gone bad.
  19. Metamorphoses from a character study into a confusingly edited sampler of sexual possibilities that feels both programmatic and old-hat.
  20. Some kind of equality has been achieved when it is impossible to distinguish heterosexual clichés from homosexual ones.
  21. 13
    What does it add up to? Nothing much. A tense, paranoid nightmare with a chilly metaphysical overview has been trampled into a blustering, bad cartoon.
  22. A semicoherent, overacted mélange of travelogue, farce and suds.
  23. A dreary, interminable drama written and directed by Eva Aridjis, is exactly one-third of a good movie. That third is Frank Wood's beautifully modulated and modest central performance.
  24. As this strained, foul-mouthed exercise in gallows humor proceeds, God’s Pocket sustains a facade of meanspirited deadpan comedy. But there are no laughs, not even smirks to be had.
  25. Although independently funded, it was directed by a longtime collaborator of Mr. Kamen’s with the clear purpose of getting the word out about the product.
  26. Overplotted, hollow thriller.
  27. In the end you have to wonder why the highly reputed director Michael Apted ("Coal Miner's Daughter") and the gifted screenwriter Nicholas Kazan ("Reversal of Fortune") chose to go slumming in territory like this. They must have been offered wads of money to do the dirty job.
    • The New York Times
  28. Flagrantly old-fashioned, triple-hankie tear-jerker.
  29. Ms. Zeta-Jones is too elegant for the lowlife she's supposed to be, Ms. Ronan isn't endearing enough to be a ragamuffin, and, under Gillian Armstrong's direction, never for a minute do you believe they're mother and daughter.
  30. Mr. Girod is a fish out of water in the after-hours clubs and deserted industrial districts that constitute the sexual underworld of Brussels. His film feels more like what one would see from the top of a double-decker tourist bus than the work of someone who has immersed himself in a sexual subculture and its particular values.
  31. The actors, including Erin Boyes as another captive, try to infuse their characters with depth, and the cinematographer, Scott Winig, lends the proceedings a professional gloss, especially in nighttime scenes. But their efforts cannot lift the story beyond its thin, lurid premise.
  32. The movie never bothers to show you life inside a shelter dormitory or tries to convey a broader vision of the city’s street culture. It is too busy showcasing its star Jennifer Connelly (Mr. Bettany’s wife) in degrading situations.
  33. The movie is ultimately a tepid and frustrating experience.
  34. Unlike such forerunners as “Clueless” and “Mean Girls,” however, this movie, doesn’t have a believable moment in it.
  35. The quirky characters they meet aren't quirky enough, and the political points Ms. Bettauer sprinkles into her script thud awkwardly.
  36. Underdog may have been originally created to sell cereal for General Mills, but this latest incarnation couldn't sell Frisbees at a dog park.
  37. The Rambler...feels like a slender plot with additional scenes pasted on.
  38. A family circus of dysfunction that's so familiar you may feel tempted to place bets on how everything will shake out.
  39. Halloween II is full of in jokes and references but nearly devoid of wit.
  40. Proves that a movie about goodness is not the same thing as a good movie.
  41. Tries to show it has its heart in the right place, but it's such a crude undertaking that it doesn't actually seem to have a heart at all.
  42. Mr. Leguizamo, 50, still has charisma, but with his maniacal stage persona barely seen and the themes recycled from earlier projects, Fugly! is a dud.
  43. Ms. Cotillard can be magnetic even when playing an unplayable character, but when Gabrielle falls for a veteran (Louis Garrel, who has perfected the facial expression of someone looking for another conversation), the chasm between her abilities and her co-star’s is mountainous.
  44. That "The Keeper" was made by a novice is evident in the visible seams between the present-day narrative and the flashbacks; the whole thing plays like a loopy amalgam of stilted costume picture and after-school special.
  45. Unfortunately, the movie's real setting is a sentimental fantasy world, and its story is a spectacularly incoherent exercise in geopolitical wish fulfillment.
  46. In the movie's cheapest, most exploitative gesture - just as it is about to run out of tricks - a snake slithers into the pine box in which Paul awakens bound and gagged, not knowing where he is. With that gimmick, the movie sacrifices its last shred of integrity.
  47. 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.
  48. I suppose Rumor Has It could be worse, though at the moment I'm at a loss to say just how.
  49. Dragon Blade is the kind of nutsy maximalist entertainment that isn’t content merely to tap a handful of influences. Instead, it stuffs an entire encyclopedia of dicey ideas (visual, narrative, political) into a blender to create a wacky, eyeball-popping and -glazing extravaganza.
  50. The film's bright look and visual energy are much more liberating than the machinations of its teen queens.
  51. Unevenly directed by Isaac Feder, Sex Ed droops.
  52. Even before a “do as I say, not as I do” twist costs it all credibility, Prescription Thugs is a not very good documentary about a very important subject.
  53. The film is more of a pageant than a convincing drama. It’s so determined to deliver its moral that it loses its grip on the reality of its characters.
  54. 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.
  55. Delectably vulgar for 20 minutes or so, almost too bad to be true, but because it lacks the demented conviction of real camp, the glint of madness that keeps a bauble like "Valley of the Dolls" afloat, it soon loses its cheap-thrills appeal.
  56. A grindingly conventional comedy that insists on tying up its subplots in pretty ribbons and bows.
  57. Perhaps the people most insulted are white Southerners, who presumably are expected to embrace one whopping brain-dead metaphor.
  58. The picture, which fails to achieve its ambitions or to fulfill our expectations, is ultimately worse than a violent piece of hack work, in which the director isn't interested in displaying his integrity -- or taste. You'd be better off downloading the trailer: a much more convincing piece of storytelling.
  59. The entire film seems to be happening on the other side of a dirty window - good news for the dreadful computer-generated effects, if not for our eyes.
  60. Their meeting was arranged by the filmmaker, and their encounters reek of false bonhomie.
  61. Overcompensates for its sloppiness with loud, knockabout farce.
  62. Rehashing characters and plots from the "Law & Order" playbook, the director, Rafal Zielinski, supplements his material with religious iconography and more gauzy close-ups than a Barbra Streisand marathon.
  63. Brian Herzlinger’s How Sweet It Is, an ode to the healing powers of musical theater, misfires so badly at the beginning that it takes a while to notice when it goes from godawful to sweetly awful.
  64. 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.
  65. Nothing in the movie works properly. For all of the time and money that went into it, it's jerry-built, a ship that slides straight to the bottom at its christening. Heaven's Gate is something quite rare in movies these days - an unqualified disaster.
  66. This is crudely mounted, earnest advocacy, getting its points across at any cost.
  67. Ms. Mort’s writing lacks psychological texture, and her direction generates little intensity, or even continuity.
  68. What we see on screen is a lumbering, flat-footed fancy-dress melodrama.
  69. This bizarre sort-of satire featuring insane characters doing incomprehensible things might be forgivable if it were even mildly amusing. It's not.
  70. Say Uncle may be trying to address gay persecution and social paranoia, but it mostly comes off as a study of arrested development. The movie's most laudable gamble is its refusal to make either Maggie or Paul sympathetic, but the moral subtleties are obscured by a one-dimensional script and a protagonist as self-centered and lacking in expression as a fetus.
  71. The screenplay is priceless (funny) and it's Mr. Reeve who sets the film's tone. Unfortunately, his unshadowed good looks, granite profile, bright naivete and eagerness to please - the qualities that made him such an ideal Superman - look absurd here.
  72. Pallid compared with the flaming id of television's "Will and Grace," the happy swizzle stick Jack, who's all appetites. When series television is more entertaining than a series of short independent films, that's something to worry about.
  73. It is about as diverting as having a porcelain sink broken over your head.
  74. A disposable trifle of fleeting rewards that - like many a feature built around a "Saturday Night Live" sketch - shows its seams after three minutes.
  75. It doesn't help that the mystery plot seems half-baked in the end, or that none of the actors appear entirely comfortable with their roles. Miss Ryan looks edgy and spends a lot of time tossing her hair. Mr. Harmon is easygoing and attractive, but his nice-guy manner belies his character's steely talk.
  76. This banal horror retread involves a couple of critters flailing inside a sticky trap for what is, in effect, the big-screen equivalent of a roach motel.
  77. The writing is so poor and the visual embellishments so few that some of the violence, like the frequent attacks on the base by local villagers, make little sense.
  78. Gives you the creeps, the giggles and the groans in almost equal measure.
  79. Ostensibly about a walk in the woods, this slight, uncertain film spends most of its time off trail.
  80. This crude, inspirational tear-jerker is as sweet as a bowl of instant oatmeal smothered in molasses. It should please those who honestly believe that Santa Claus and God are synonymous; others may retch.
  81. This comedy, the first feature by Ms. Bucher, suffers from technical limitations, perhaps imposed by a tough nine-day shooting schedule. The recording sounds muted; the whimsical musical score oversells the jokes; and the lackluster visuals fail to match the pungency of the language.
  82. Like a zombie picture directed by one of the undead.
  83. The Hero of Color City cannily distills the children’s movie to its lowest common denominator: bright colors flashing on screen.
  84. Student Bodies just slowly topples over as you watch it, like a stand-up comedian in the act of failing.
  85. Among the problems with the humorless comedy General Education is that the lead character's sister is more interesting than he is, and she spends much of her screen time as a mute mime.
  86. Strains to sell itself as one crazy ride (raging parties! hot lesbian sex! bare breasts!), and chances are it won't disappoint those looking solely for unadulterated raunch.
  87. It is insight-free and cliché-heavy, with the five sharing obvious reminiscences about the thrill of superstardom, visiting haunts from their youth, shooting baskets and occasionally rehearsing.
  88. 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.
  89. Saving most of its special-effects pennies until the final five minutes, Hangar 10 struggles to build a science-fiction movie from little more than a ghost of an idea and an infamous location.
  90. A shallow commentary on how an artist’s talent can be subsumed by the desire for fame and fortune. Or maybe just by the need to make a movie.
  91. Apparently, because all the good jokes were used up in the first two "Fockers" movies, the wisenheimers behind the latest installment in this unnecessary trilogy decided to bring in some spew, opening a sick toddler's mouth like a fire hydrant and letting it rip.
  92. Penélope Cruz is an Oscar-winning actress we don’t see often enough in prominent leading roles. So how disappointing to find her having to carry Julio Medem’s florid Ma Ma, a melodrama only glancing at profundity.
  93. Mr. Kitamura, an action enthusiast who prefers to show rather than tell, seems unaware that the film’s dialogue is laughable, its characters unfathomable and the acting often less than optimal.
  94. Hungry Wives has the seedy look of a porn film but without any pornographic action. Everything in it, from the actors to the props, looks borrowed and badly used. [12 Dec 1980, p.8]
    • The New York Times
  95. There’s barely a whiz-bang punch line or smoothly executed setup to be found in a movie that longs to be a sparkling bedroom comedy and winds up a tortured, fizz-free farce.
  96. Just when it seems as though the language of insult and humiliation couldn’t get any nastier, the movie escalates the barrage.
  97. Smothered by a storm of visual tics — and the tiniest of nods to “Rear Window” (1954) — any social commentary takes second place to multitasking gimmickry.
  98. The only thing missing is a coherent story -- or even, for that matter, an interesting idea for one.
  99. The film has a bare-bones look that only intensifies its nearly painful sincerity.
    • 28 Metascore
    • 30 Critic Score
    The resulting film, directed by Paul Johansson, feels rushed, amateurish and clumsy. It's not just the ideologies that feel oddly out of step with the present day, but the clothes, hairstyles and interiors.

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