The New York Times' Scores

For 12,215 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 3.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Sweetgrass
Lowest review score: 0 Art History
Score distribution:
12215 movie reviews
  1. An unsalvageable mess.
  2. You see, this character, who is given no back story, is Life with a capital L. He is the Forneys' guardian angel who rouses them out of their funk. Given the movie's U-turn into allegory, maybe he's supposed to be a punk Jesus. Not even Mr. Gordon-Levitt's unremittingly savage performance can begin to salvage such hokum.
  3. A sloppy, exploitative act of star worship created (if that's the right word for cynical hackwork) around Mr. Lautner, the pouty 19-year-old heartthrob of the "Twilight" franchise.
  4. Told with multiple flashbacks and minimal taste, this exuberantly scuzzy thriller - shot in less than two weeks with a budget as micro as the women's skirts - pits sleazy cops against fun-loving disrobers in the middle of scraggly foliage.
  5. Harlem Nights is not the disaster some people might have been expecting. Mr. Murphy has appeared in far worse films written and directed by people much more experienced.
  6. Backstage isn't as good as the rap documentaries "Rhyme and Reason" and "The Show," but it still casts a keen, observant eye...on this world.
    • 34 Metascore
    • 20 Critic Score
    Fails both as arrested-development farce and as teen-age romantic comedy.
  7. It has little story to tell and few ideas to offer. Just a great deal of product to sell.
  8. A misfired attempt at provocation and the exploration of philosophical thought, London is little more than an immature display of male bonding on speed.
  9. Unfortunately, all of these supremely expressive vehicles come equipped with drivers, principally a pair of crash-test dummies played by Paul Walker and Tyrese, whose low-gear dialogue makes the whine of engines sound like the highest poetry.
  10. That Garfield speaks in the supercilious, world-weary drawl of Bill Murray is some small consolation, as are a few of the animal tricks.
  11. It's also not easy convincing the audience. The werewolf, when it finally comes onto the screen, looks less like a wolf than Smokey Bear with a terrible hangover.
  12. The latest bit of damaged goods offered up in the Miramax clearance sale, Underclassman plays like the longest episode of "21 Jump Street" ever made.
  13. Airless, senseless — and seemingly endless — this clumsy heist movie, directed by the prolific schlockmaster Brian Trenchard-Smith, manages to make even the magnificent coastline of Queensland, Australia, feel dreary.
  14. Comes off as noisy and ill conceived, long on morphing monsters, short on storytelling talent and uneven in its efforts at animation.
  15. Ms. Riesgraf, who at times recalls the young Teri Garr, is gutsy and committed, but not even Meryl Streep could make this hokum credible.
  16. A clumsy mixed-nuts comedy.
    • 18 Metascore
    • 20 Critic Score
    The onslaught of optical effects and deafeningly expressive foley suggest a voyage through a pinball machine piloted by the director Tony Scott.
  17. An aggressively noisy exercise in style over substance about nasty people doing nasty things to one another in (sigh) Southern California.
  18. Prostitutes are not the only things butchered in The Lodger, a spooky story ruined by lumpen dialogue, cloddish performances and a director and writer (David Ondaatje) oblivious to both.
  19. Unfortunately, “Ghastly Love” is a fallen soufflé, a spoof enormously pleased with itself but only occasionally entertaining.
  20. There is an explanation for everything, but it is a long time coming and not worth the wait.
  21. A film that tries to be both titillating and suspenseful but is neither.
  22. Not only is the film dreadfully dull: every time something potentially exciting does occur, the scenes are so muddled and chaotic that it is impossible to make out what is happening.
  23. The film falls far short of its goals, but it is a classic of sorts. It belongs in that Blockbuster on Mount Olympus, where pristine new copies of "I Changed My Sex," "Dracula's Dog," "Blackenstein" and "Battlefield Earth" play constantly.
  24. The story is a clever sitcomy contraption, the dialogue is pedestrian.
  25. Bogus on every level, right down to its half-hearted trick ending.
  26. Mostly you root for Mr. Michel’s couple to reconnect simply so the movie will come to an end.
  27. A weak-witted comedy.
  28. Rendering a miraculous premise dull, the film seems relatively uninterested in doing more than preaching to the choir.
  29. This bloated spectacle has all the get-up-and-go of one of the legendary late-era Elvis Presley concerts. The picture feels longer than Presley's career and as irrelevant as he was by the end.
  30. Mr. Moodysson may believe that he can stick it to the audience politically by sticking it to his characters. But like most film directors who commit to this strategy, his tactics come across as both naïve and wildly self-indulgent, while his fascination with the spectacle of the corrupt and the cruel is simply tedious.
  31. 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.
  32. The answers aren’t satisfying, and The Pyramid, despite an unpretentious matinee vibe, is mostly interesting in seeing how little light can be on screen before a bare minimum of suspense and coherence dissipates. There is, truly, not much to see in this movie.
  33. Our judgments, in any case, may be superfluous, since the director, Mathieu Kassovitz, has already publicly described it as "pure violence and stupidity."
  34. Man, does this one make the first movie look like a masterpiece. What was Renée Zellweger thinking? It can't have been fun to put on all that weight, especially for a film as ghastly as this.
  35. Robert Kane Pappas’s documentary about scientific experiments in life extension, makes a digressive, disorganized hash of a fascinating topic.
  36. Begins to seem not so much an examination but an exploitation.
  37. 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.
  38. Its narrative continuity is so sketchy and the screenplay so haphazard that the movie doesn’t add up to more than trash, seasoned with pretentious religiosity.
  39. A murky ecclesiastical horror film, may be the nadir of the subgenre that produced "The Exorcist" (at its high end) and "Stigmata" (at its middle-to-low end).
  40. A toothless examination of marketing and morality, Álex de la Iglesia’s As Luck Would Have It combines lecture, farce and soapy sentiment in a single misshapen package.
  41. Constant close-ups give the sense that the movie itself is violating viewers’ personal space, while an earnest moral suggests that online communication can’t substitute for face-to-face interaction: a topic Friended to Death doesn’t seem to know much about.
  42. It is spectacularly out of touch, a laughably earnest attempt to impose heroic attitudes on some nice, small characters purloined from a ''young-adult'' novel by S.E. Hinton, the woman who wrote the novel on which ''Tex'' was based.
  43. Filled with sappy dialogue and screeching strings, Truth is a puerile excavation of secrets and sickness.
  44. If you’re watching this film and waiting for something funny or insightful to come along to assuage your annoyance, you’ll wait a long time.
  45. Can the major studios still make magic? From the looks of Oz the Great and Powerful, a dispiriting, infuriating jumble of big money, small ideas and ugly visuals, the answer seems to be no — unless, perhaps, the man behind the curtain is Martin Scorsese or James Cameron.
  46. All hope is lost for those trapped in theaters with this picture.
  47. A mess from start to finish — though, judging by the ending, this story won’t be over any time soon — Insidious: Chapter 2 is the kind of lazy, halfhearted product that gives scary movies a bad name.
  48. A patchwork of contrived naughtiness and forced pathos...The loose ends are neatly tied up, as they are when you seal a bag of garbage -- or if you prefer, rubbish.
  49. Plods along in its sloppy, joshing way, it tastes like pasta sauce that has sat on the shelf long after the expiration date on the can.
  50. [A] regrettably hokey first feature from Bryan Anthony Ramirez.
  51. Corny, suds-drenched movie. The kindest way of looking at this roughly patched-together story is as the cinematic equivalent of the music it memorializes.
  52. The spectacle of actors of the quality of Russell Crowe, Aaron Paul, Janet McTeer, Octavia Spencer and Jane Fonda earnestly struggling to wring eye moisture from hammy, flat-footed dialogue (credited to Brad Desch, an unknown), while maintaining some dignity, is depressing proof that an actor is only as good as his or her material.
  53. Lullaby, the directorial debut of Andrew Levitas, a jack of all artistic trades, is the kind of manipulative, cliché-infested hokum that alienates moviegoers by its insistence on hogging all the tears.
  54. Does occasionally rise out of the sewer of its self-imposed idiocy, ascending in brief moments from utter witlessness to half-witlessness, mostly thanks to the loose comic byplay between Mr. Black and Mr. Zahn.
  55. A wooden police thriller that is as dull as it is impenetrable and ultimately beyond ludicrous.
  56. Offers agony in a vacuum, a villain without a motive and a hero with more personal problems than lines of dialogue.
  57. Beyond the lugubrious pageantry, there is no sign of emotional or spiritual life in the film, only windy posturing.
  58. During its 159 minutes, this movie bombards you with eager-to-please but clueless shtick.
  59. As Corky, Mr. Kattan never finds an appealing perspective on his character. Sweetness is not this gifted comedian's strong suit, and in its place Mr. Kattan offers a desperate eagerness to please, a far less charming quality.
  60. Daddy’s Home is an ugly psychological cockfight posing as a family-friendly comedy. Laugh-free — except for some farcical, life-threatening stunts at the expense of Will Ferrell’s character, Brad — it is best avoided unless a movie that has the attitude and mind-set of a schoolyard bully happens to be your thing.
  61. Lost in all this is Halston, who comes through only in dribs and drabs. If you're curious about him, skip this film. Read about him - you'll learn far more on his Wikipedia page - and look at his clothes. And if you're a filmmaker, go out and make a decent movie about him: he deserves it.
  62. Jake Squared combines the most grating tendencies of meta navel-gazing with the sexism of reality television — pushing the limit of viewer tolerance to zero.
  63. The stripped-down narrative is almost an apology for the ludicrous story -- but it's just not enough of one.
  64. Does it have to be so witless, so stupid, so openly contemptuous of the very audience it’s supposed to be pandering to?
  65. Because all of this looks blatantly unreal, and because the timing of the shock effects is so haphazard, Dead Alive isn't especially scary or repulsive. Nor is it very funny. Long before it's over, the half-hour-plus bloodbath that is the climax of the film has become an interminable bore. [12 Feb 1993, p.C16]
    • The New York Times
  66. Though the young actors...are appealing enough, you keep waiting for a boatful of humor to come along and rescue them. The whole film is a campy put-on, right? Apparently not.
  67. Almost creates a sense of dread as you sit watching its raft of aimless, self-absorbed neurotics clang into one another.
  68. Cause for fright in only one respect: the possibility that it could spawn sequels.
  69. (Patricia Arquette's) irritated reactions to her dire situation have all the force of a pet owner's whiny complaints when her feline refuses to use the cat box.
  70. A catastrophe worth noting only for the presence of its name cast.
  71. Less a movie than an essay.
  72. Watching this movie feels like viewing a very long, expensive car commercial and waiting for the real film to begin.
  73. Sleepless, directed by Baran bo Odar, sets a low bar for itself, and then trips over it.
  74. Tailor-made for those who like their violence multifaceted and their women monosyllabic.
  75. What one word might best describe Payback? How about "loathsome"?
  76. The movie, like its lovers, is really two films smushed together in the faint hope that sheer incongruity can grind out laughter.
  77. Return of the Jedi oesn't really end the trilogy as much as it brings it to a dead stop. The by far the dimmest adventure of the lot.
  78. Too slight to persuade, The Unbelievers is also too poorly made to entertain. The rational roots of atheism deserve a much better movie than this.
  79. 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.
  80. Overkill is what Jason Friedberg and Aaron Seltzer do best: as the uncontested titans of the parody genre (with fingers in everything from the “Scary Movie” franchise to the more recent “Epic Movie”) they continue to prove that ridiculing other movies is much easier than making your own.
  81. The film has no idea of how to develop its one-joke premise. The tepid love scenes are as erotically charged as a home movie of a little girl hugging her Barbie doll, and the satire as cutting as the blunt edge of a plastic butter knife.
  82. Deteriorates into a gory shoot-'em-up gangster movie with a quick-fix ending that leaves many threads dangling. It could have been something more.
  83. Nice, but that doesn't mean the film is worth anyone's time besides those of their families, friends, neighbors and the nice man from Connecticut who let them use his restaurant.
  84. Use experts and eyewitnesses to less rousing effect than Michael Moore has. Sometimes their arguments inspire unintended doubts about the alleged abuses.
  85. Will this hard-luck president again defy death while his stoic sidekick vanquishes the nasty, uncivilized terrorists? It’s hard to care when a movie is this formulaic and moronic.
  86. Manages to squeeze in several different endings — like a bad pop song that doesn't know when to fade out. But as Mr. Schwarzenegger's stature as an action figure diminishes, his effort to retain a piece of the market is touching.
  87. Mr. MacFarlane can be funny, but Ted 2 is insultingly lazy hack work that is worth discussing primarily because of how he tries and fails to turn race, and specifically black men, into comedy fodder.
  88. A moth-eaten stranded-in-the-desert yarn that throws in every cheap trick in the manual to pump up your heartbeat, is so manipulative that the involuntary jolts of adrenaline it produces make you feel like a fool.
  89. Messy, unfunny and unforgivably dull.
  90. Mr. Edwards, who wrote and directed Land of the Blind (it's his debut film), might counter that the movie is a Brechtian comedy that's not supposed to make literal sense: the big picture is what matters. But the big picture is a mess.
  91. There is no credible feeling here, no comedy, no eroticism.
  92. A Pan-Asian romantic melodrama that virtually pokes you in the eye with its fakery.
  93. An entwined triptych of sorts unified by invective, slurs and characters demanding that others shut up, Run It is a very patchy affair.
  94. This one is clumsy, mean spirited and amazingly unmusical.
  95. Mr. Megaton’s direction of action sequences borders on atrocious. Ragged camerawork and editing ruin freeway car chases and hand-to-hand combat alike.
  96. In a better movie you might play along with contrived plot twists and fake obstacles, but watching I Do, a movie with thin characters and a languorous pace, you find yourself talking back to the screen.
  97. Are they fools or heroes? Because the movie can't decide, neither can we. And without an emotional payoff, Play It to the Bone ends up stranded in serio-comic limbo.
  98. Is there a point? All the filmmakers seem interested in is the ugliness of the main Israeli characters.

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