The New York Times' Scores

For 9,644 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 Deep Blue Sea
Lowest review score: 0 September Dawn
Score distribution:
9,644 movie reviews
  1. In the end the elaborate gimmickry of Inspector Gadget cannot conceal its very ordinary storytelling.
  2. Quickly collapses into an overloaded, slow-moving series of predictable jokes and forced situations.
  3. Although there is the germ of a very sharp comedy in the intersection of real mobsters and make-believe thugs in a Hollywood mob comedy, Analyze That is far too lazy to do much with it.
  4. Perhaps the directors are under the delusion that the dodging and leaping can make up for an ending that leaves the cast members of "Killer" adrift and nearly scratching their heads in puzzlement.
  5. The movie has a frantic staccato style that is more game-oriented than cinematic.
  6. Ultimately seems naïve. In developing the comparison of sex and cannibalism, it never goes beyond the standard Draculian symbol of blood to include other bodily substances.
  7. Even the imaginative gore can't hide the musty scent of Todd Farmer's screenplay.
  8. For all its intimations of fire and brimstone, the film isn't remotely frightening, and the high-school-level acting doesn't help.
  9. This mistaken-identity picture is so film-culture referential that the final product is a ghost.
  10. Many of the faces that emerge through the murk appear bug-eyed. And much of the dialogue, which is frequently shouted, is only semi-intelligible.
  11. Murky, third-rate martial-arts film.
  12. As the film loses its grip on its multiple stories, the title begins to suggest an overheated stew bubbling out of its pot. By the end of the film, the intersecting dramas and histrionic performances have spilled all over the floor, so to speak.
  13. 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
  14. Breezing along on gusts of stale air and perky inanities, Two Weeks Notice is a romantic comedy so vague and sadly undernourished that it makes one of Nora Ephron's low-cal strawberry sodas seem as tempting as a Philip Barry feast.
  15. Even the handful of moments that are amusing feel recycled from old sketches of Mr. Murphy's.
  16. The lip movements of the animated figures are slightly slow, so you feel as if you're watching a badly dubbed Japanese creature feature from the 1960's. The dialogue is almost as stilted, and after a while you drift into that half-dream state that inert movies can create.
  17. There is little here to hold the attention of anyone older than 9. For families in search of entertainment, it may be time to find Nemo again.
  18. The documentary doesn't get near the prowess of its subject; it passes through your life like a minor daydream.
  19. The unfortunate thing is that children will probably waste their summers indoors watching "Recess" over and over again.
  20. Lazy would-be horror film.
  21. The emotional impact of Shark Skin Man is negligible.
  22. Even fans of open-wheel racing, the high-speed, high-stress pastime that is the subject of Renny Harlin's hectic new film, may walk away from it more logy than exhilarated.
  23. Quickly curdles into a nasty variation of the one-last-score genre.
  24. Proves that a movie about goodness is not the same thing as a good movie.
  25. Imagine "Last Tango in Paris" remade as a wan, low-budget romantic comedy.
  26. 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.
  27. Tacky and disposable.
  28. Only adds to the sense that Mr. Konchalovsky has lost his artistic moorings. He has certainly lost his common sense.
  29. 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.
  30. The very confusion that has made him (Rock) so unpredictable and funny onstage makes this on-screen exploration of contemporary racial mythologies curiously tentative and unfocused.
  31. A leaden, skimpily plotted space-age Outward Bound adventure with vague allegorical aspirations that remain entirely unrealized.
  32. The film's only bright idea is a duo named Chain Saw (Cameron) and Dave (Riley), who love horror films and instigate grisly but imaginative practical jokes, like pretending to be attacked by bunnies when the class makes a field trip to a petting zoo. [22 July 1987, p.C22]
    • The New York Times
  33. Exists in a realm beyond sense, and induces in the viewer a trancelike state, leaving the mind free to ponder the mysteries of the universe.
  34. Flagrantly old-fashioned, triple-hankie tear-jerker.
  35. The most indolent waste of screen time since Andy Warhol's marathon shot of the Empire State Building.
  36. This tirelessly violent, ultimately exhausting film has the utter sincerity of all good science fiction, and a lot more flair than most, but it suffers from a certain confusion of purpose. In the end, it amounts to quite the pistol-packing plea for peace.
  37. Sitting through the lavish and dumb action spectacular Lara Croft: Tomb Raider is about as much fun as watching someone else play a video game.
  38. So preoccupied with delivering its effects that it doesn't bother to make sense of its story.
  39. The screenplay never begins to finds a workable balance between wit and adventure. And the performances in several smaller roles are so mechanical that they lend Kill Me Later the tone of a vanity production.
  40. 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.
  41. This crude comedy delivers on the "No Shame, No Mercy" threats from the original. Unfortunately, it all adds up to "No Good."
  42. Just a parade of scattershot gags, more often weird than funny an dmost often just flat. [13 Dec 1996, p.C5]
    • The New York Times
  43. A lumpy three-and-a-half-hour glob of Civil War history.
  44. Summer is like an episode of the religious children's series "Davey and Goliath," without the entertainment value of animation and a talking dog.
  45. Plays every convention twice, once as parody and once by the book, but the movie, trying to be two things at once, fails at both.
  46. Mr. Jones, who recently starred in "Zig-Zag," a similarly striving, overwrought picture, is a disciplined and likable performer, and he bravely perseveres in the face of narrative absurdity and rampant overacting.
  47. It's an oddity that will be avoided by millions of people, this new Pinocchio. Osama bin Laden could attend a showing in Times Square and be confident of remaining hidden.
  48. The film's bright look and visual energy are much more liberating than the machinations of its teen queens.
  49. The best thing that can be said about Boys and Girls is that it is studiously inoffensive.
  50. A ski party movie in which the clothes are a little more revealing than they were 35 years ago, the practical jokes are a little more tasteless, and the uncertainty over sex is pretty much nonexistent.
  51. The only thing missing is a coherent story -- or even, for that matter, an interesting idea for one.
  52. Relentlessly bright and superficial, even when the subject turns to self-destruction.
  53. With the exception of some of the battles, which have the angry desperation of Mr. Yuen's inspired martial-arts choreography, Close is a nominal effort.
  54. This poorly acted, ramshackle tour of the lower echelons of the Los Angeles rock scene has the feel of a largely improvised home movie filmed without retakes, and its sense of humor could only be fully appreciated by struggling musicians.
  55. Rather than exhilaration, this bilious film offers only entrapment and despair. It's about as much fun as sitting in on an autopsy.
  56. Starts to seem less like a political documentary than a one-sided "Battle of the Network Stars," with the younger generation clearly winning the charisma challenge.
  57. Proves to be both too much and not enough: yet another slick, empty package of ersatz entertainment.
  58. Doesn't have a genuinely human moment.
  59. A bubbling crockpot of farcical mush to warm the tummies of anyone who really and truly misses "The Brady Bunch," and I mean really and truly.
  60. Having established its premise and set in motion an overloaded plot, the picture lurches this way and that, evoking more restlessness than laughter and more boredom than pathos.
  61. The spectacle of two mature stars forced to grovel in the bathroom for cheap laughs is pathetic.
  62. By Monday, Torque will look like a period piece with its expiration date, January 2004, prominently displayed. The inevitable movie-inspired video game will appear more realistic.
  63. The question remains: why work so hard to make something deliberately bad, when the world is hardly running a shortage of mediocre movies?
  64. A high-concept, low-reward hodgepodge that mingles elaborate stunts and shootouts with stereotypical ethnic humor.
  65. Probably should have stayed on a shelf back in Paris.
  66. It's one of the rare films for which a blooper reel would be redundant.
  67. Too lazy and too loosely structured to accomplish much besides conveying some vivid physical impressions. There is no narrator, and the structure that exists is clouded by the new-age mumbo-jumbo of eight principal commentators.
  68. Mr. Allen's work is compromised by an apparent inability to match his shots in a spatially coherent fashion. It's never easy to tell who is chasing whom and in which direction, a needless confusion that dampens many of the thrills and scuttles quite a few gags.
  69. This movie is a suspense thriller whose only suspense comes from an audience wondering if the picture will hit its promised 97-minute running time.
  70. Lacks the sexy elan of "La Femme Nikita" and suffers from infinitely worse culture shock. [18 Nov 1994, p.C18]
  71. A slapdash, poorly acted, paint-by-numbers teen horror comedy, the sequel is too frenetically edited to build any suspense, and its special effects are strictly bargain basement.
  72. The eventual video game is bound to be a lot more fun -- and less slowed down by bad dialogue -- than this "Dead."
  73. One
    The film's spareness and lack of words seem affected and ultimately unrealistic. At such moments, its refusal to put things into words and its crushing sense of gloom turn self-defeating.
  74. He's (Marco Filiberti) his own best audience, and Adored is best left to his own enjoyment.
  75. The real question raised by The United States of Leland is not why, but how. How, that is, did so many talented actors find their way to this dreary and derivative study in suburban dysfunction?
  76. Offers a view of pornography that is nonjudgmental, even celebratory, but at the same time its premise -- that Danielle must be rescued from the shame and degradation of her old job -- suggests a more traditional, disapproving point of view. Instead of addressing this contradiction, the movie is happy to wallow in it, which would be fine if it had any real pleasure to offer.
  77. At least it isn't a remake -- though given how slovenly and forced this movie is, maybe that wouldn't have been such a bad idea.
  78. Its lack of subtlety is clearly a point of pride, and Mr. Hensleigh's flat-footed, hard-punching style has a blunt ferocity that makes "Kill Bill" look like "In the Bedroom."
  79. A bleak, static mood piece about adolescent emptiness. There's little dialogue, and what there is offers the scantest information about Gerardo, who, as played by Mr. Ortuño, conveys an impenetrable blank-faced melancholy.
  80. This is a time-tested movie con, but rarely has it been deployed so contemptibly.
  81. Squandered in foolish horseplay and on a story that zigzags so far out of control that it feels as if the screenwriter, Steve Adams, pasted together a bunch of zany notions in a frantic search for confusion.
  82. 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.
  83. Mr. Piccirillo's direction reflects a basic knowledge of stagecraft but no discernable sense of filmmaking. The dull television-style close-ups march relentlessly across the screen, leaving only the ghostly trails of badly transferred video images behind.
  84. A quintessential Renny Harlin film: a big, dumb, loud action movie.
  85. Instantly forgettable film.
  86. Credibility, of course, wouldn't matter if the gags were good enough, which they are not. The film quickly falls back on the gross-out jokes that have made recent American comedies such a challenge to the digestive tract.
  87. The picture is a bland procession of loosely framed close-ups, which serve only to underline the amateurish performances.
  88. Ridiculous without being awful enough to be hilarious.
  89. Isn't very successful at evoking the dream state, but does a good job of inducing it.
  90. Even for a fairy tale, A Cinderella Story, directed by Mark Rosman from a screenplay by Leigh Dunlap, fails to make sense.
  91. A howlingly silly, moderately diverting exercise in high, pointless style.
  92. Less a formal documentary than a rambling screed.
  93. Tricked up with an elaborate flashback structure, subtitled dialogue in three languages and as many gratuitous aesthetic touches as the traffic will bear, Proteus emerges as a heavy, pretentious and derivative film.
  94. 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.
  95. Pushes its ugly humor further than most.
  96. The risible dialogue, the bulging eyeballs, the heaving bosoms, the digitally rendered hyenas and squirming maggots, the movie fails to achieve the status of the instant camp classic. That's partly because the vibe of the film is too torpid.
  97. There's something unsettling when fiction exploits this history to such puny, self-interested ends.
  98. Makes no psychological sense. Even within the convoluted realm of film noir, the development of the relationships defies any logic.
  99. Strains to be the ne plus ultra of arch, hyper-sophisticated fun, but the laughs are few.
  100. In the preposterous thriller The Forgotten, a pseudospiritual, mumbo-jumbo, science-fiction inflected mess, the director Joseph Ruben does not just fail to tap into Ms. Moore's talent; he barely gets her attention.

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