The New York Times' Scores

For 11,422 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Argo
Lowest review score: 0 The Big Bang
Score distribution:
11422 movie reviews
  1. Nearly every time Mr. Jordan, working from a script by Mr. Ellis and Nicholas Jarecki, tries for similar effects, he goes badly awry, so that you snicker when the movie is trying to be poignant and groan when it aims to make a joke.
  2. There’s not an ounce of suspense in any of this, because you’ve seen it all before, and the director, Jon Cassar, seems uninterested in veering from the well-established formula.
  3. The glum, episodic and unbelievable Arthur Newman is the film equivalent of a dysfunctional computer sloppily assembled from discarded parts of other machines.
  4. Light on originality and low on suspense though high on design and special effects.
  5. Alas, excesses of any pleasurable kind are absent from this exasperatingly dull production.
  6. In the spring a monster's fancy lethally turns to thoughts of lust. This thought, reduced to a level contemptuous of taste and reasonable intelligence, underlies Species II.
  7. All it has in common with the original is a few dumb fun scares. In the new version, what we're left with after the scares is just plain dumb.
  8. Succumbs to its blockbuster ambitions and turns into a noisy, bloated mess.
  9. Impenetrable mess of a movie.
  10. The film equivalent of the dark, boring period on a haunted house ride before the gondola crashes into another room filled with dirty mirrors.
  11. This sort of thing was indulgent enough the first time around; transplanted to the mumblecore milieu, it's intolerable.
  12. As one bloody encounter treads on the heels of the next, all that remains is a tiny indie undone by its own vicious ambitions.
  13. As tightly plotted as a standard French farce.
  14. Overabundant diffuse lighting and wide-angle perspectives only compound this horror movie’s deficiencies in plot and dialogue.
  15. Ultimately as sycophantic as it is needling.
  16. The film calls attention to its own artificial status. It actually knows it’s a movie! What a clever, tricky game! What fun! What a fraud.
  17. An exhaustingly pretentious heave of artistic self-involvement, The Time Being takes an exceptionally handsome journey to nowhere at all.
  18. A dreary Australian movie, directed by Nick Robertson, that has more dogs than “Cujo” but noticeably less plot.
  19. Whatever thoughtful instincts Mr. Castellitto might possess are undermined by his addiction to cinematic prettiness.
  20. This dreary spy drama is as flat and airless as the concrete bunker in which it unfolds.
  21. A supernatural soap opera.
  22. Like many of the nonpolitical terrorist-as-villain spectaculars that have been held back after Sept. 11, has the whiff of something gone stale. Though it may have sat on the shelf for a while, this project had gone bad long before it was released.
  23. In a culture apparently defined by lap dancing, ersatz architectural sublimity and the virtual contact of cyberspace, how do we know what is real? The Center of the World, for example, is as phony as can be.
  24. In this achingly inept thriller, you will see Naomi Watts do what she can to sell a plot of such preposterousness that the derisory laughter around me began barely 20 minutes in.
  25. Poor computer-generated effects give the movie an unsettling, two-layered feel.
  26. Throughout Happy Hour, observations that mean next to nothing are presented as nuggets of profound enlightenment.
  27. The film, a sleepy, low-budget affair, merely enacts a series of horror movie clichés, as if that were enough. Its bland actors and wit-free script do nothing with the familiar elements but present them.
  28. Fusty research, aging interviewees and decades-old advertising campaigns offer background to the uninitiated, but Mr. Warrick's muddled, undisciplined approach destroys even the possibility of a cogent overview.
  29. It's the central story that's lacking.
  30. For a film that's so innocuous, Teen Wolf is aggressively boring.
  31. The film strains mightily to be flashy and hip but finishes more in the realm of the merely distasteful.
  32. Shot in smeary video, it sports the static, by-the-book camera work of a daytime soap-opera.
  33. No one expects realism from a movie called Teen Wolf Too... still, the film makers could pretend to know what college is like, might try to liven up the kindly werewolf formula.
  34. Monotonously paced and too long, Jersey Guy also suffers in its early scenes from attempts at humor that probably read better on the page than they play on the screen.
  35. You might be tempted to say, "Huh?" Or, if you're in the theater, to leave. But wait -- there's less.
  36. The action is the best thing in the picture.
  37. After several scenes of this tacky nonsense, you'll be wistful for the testosterone-charged wizardry of Jerry Bruckheimer productions, especially because Half Past Dead is like "The Rock" on a Wal-Mart budget. And the marked-down price tags are incredibly visible.
  38. Plays more like a nightmare than a dream, and an exceedingly unnerving one at that. Sam isn't just a prisoner of her parents' ambitions; like nearly everyone else in this film, she's a zombie, sleepwalking through life while Rome burns.
  39. May lead to a new axiom: success has many fathers, but failure has "Project Greenlight."
  40. An awkward “Lord of the Rings” knockoff, it features both elaborate battles and bumbling humor, though it’s never quite clear when you should be laughing.
  41. Missing no stops on the road from cloying to annoying, Harlem Aria has waited more than 10 years for domestic release. Maybe its destiny has been written.
  42. At a certain point this would-be shocker suddenly jerks into high gear and becomes a blatant, incompetent rip-off of "Psycho."
  43. A cynical, clumsy, aptly titled attempt to cross the female-oriented romantic comedy with the male-oriented gross-out comedy that is interesting on several levels, none having to do with cinema.
  44. If the film were a fight, they'd have stopped it.
  45. The delicate magic of, for instance, Hayao Miyazaki's "Spirited Away," which Disney released earlier this fall, is absent from this brainless, mechanical picture.
  46. Blends the least of Woody Allen with a plot complication out of "Love, American Style," stuck together with sitcom glue.
  47. But after 15 minutes, this yellow-orange vision of spiraling circles of hell, snorting devils and demonic shapes continually morphing out of one another, begins to seem redundant and conceptually impoverished.
  48. One of those projects whose very existence should baffle anyone hardy enough to endure all 94 minutes.
  49. You could accuse it of glamorizing the shallow hedonism it depicts, but that charge would only stick if the movie had any genuine flair, romance or imagination.
  50. Boorish, bigoted and borderline pornographic.
  51. Watching it means waiting for the other shoe to drop: anticipating the moment when this already tacky weepie will resolve itself in horrific, exploitative fashion.
  52. The steady performances of Tom Wilkinson, playing a kindly priest, and Emily Watson, an angelic mother, in Alejandro Monteverde’s Little Boy do little to offset the cloying sweetness of a movie that has the haranguing inspirational tone of a marathon Sunday-school lesson.
  53. Nasty for nastiness’s sake, Kite drags to achieve its brief running time; you wonder whether the slow motion is an artistic device or a stalling tactic.
  54. [A] preposterous ensemble piece.
  55. The movie makes no sense as either melodrama or metaphysics, so that its expensive special effects go up in smoke. Literally.
  56. A soulless compilation of thrills.
  57. There are a few laughs, but I'm not sure that a comedy is supposed to make you recoil, which is what "Smoochy" does.
  58. This might not be the Titanic of romantic comedies (it’s tugboat size), but it’s a disaster: cynically made, barely directed, terribly written. But quick: there’s still time to escape!
  59. This claustrophobic mess of a movie offers only carnage.
  60. Even by the crude standards of teenage horror, Final Destination is dramatically flat.
  61. Relentlessly unpleasant film.
  62. The film's last half-hour -- or do I mean its final two weeks? -- is meant to keep the audience sniffling and sobbing uncontrollably, but the only thing likely to elicit tears is the sight of Mr. Reeves dressed in a white dinner jacket crooning "Time After Time."
  63. This is one of those sadistic exercises that puts its characters through the wringer without saying anything true or meaningful.
  64. 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.
    • 18 Metascore
    • 20 Critic Score
    The title role is played by Ariana Savalas, daughter of Telly. She's good, but not inventive enough to rescue Miriam, which is hobbled by flatly lighted video imagery, unconvincing period details and an inclination to wallow in atrocity.
  65. So clogged with kooky gadgetry and special effects and glitter and goo that watching it feels like being gridlocked at Toys "R" Us during the Christmas rush.
  66. The Glass House is hardly insane, just absurd, and the only damage it does is to itself.
  67. The glimmers of wit and carnival humor in the “Fast & Furious” franchise are nowhere to be found in Getaway.
  68. What a frantically dull spectacle this vanity project is.
  69. A vulgar, uninspired lump of poisoned eye candy.
  70. Played in a loud sketch-comedy style that might be described as "Gay Mad TV." The haranguing, badly acted farce wears out its comic welcome within half an hour.
  71. Most of the meager charms of the chaotic romantic farce A Guy Thing spring from the deft comic contortions of Hollywood's ultimate nerdy sidekick, Jason Lee.
  72. It’s of course unfair to blame Quentin Tarantino for all the terrible movies he has inspired, but enough already!
  73. Vacillates between cutesy Disney-style anthropomorphism and "Born Free" exoticism.
  74. "Queen" is a movie that stoops to jokes like calling Lestat's CD "a monster hit"; the movie is just a plain old monster.
  75. This is bad cinema and bad history. Ms. Bravo is unstinting in her praise for the omelet and her admiration of the chef, but she refuses to admit that she's walking on eggshells.
  76. Though Mr. Hayata seems convinced that he is a colorful, romantic figure, the movie itself is crushingly mundane and unlikely to attract any audience beyond close relatives.
  77. The director, John Gulager, has no idea how to mix his ingredients to create a savvy self-parody.
  78. Finally, a serial-killer movie so preposterous, so garnished with accidental laugh lines and absent essential narrative logic it may actually put a permanent kibosh on this tediously overworked crime subgenre. Here's hoping, at any rate.
  79. For all the shooting, knifing and nattering about sleeper cells, the film feels weirdly static and terminally tired.
  80. Confuses an empty and derivative stylistic bravura with formal cleverness, and a sterile, mechanistic sensationalism with emotional intensity.
  81. Death in Love hasn't a drop of humor or hope. Its dull, smudged look makes every environment appear joyless and claustrophobic.
  82. When insects are the best thing in your movie, it’s probably time to retire.
  83. A facile exercise in nihilism posing as an indie "Training Day" with street cred. Don't believe it.
  84. Rarely has a movie worked so hard to be so inconsequential.
  85. The ending is meant to be clouded with ambiguity, but really it is unequivocally happy because it means the movie is over.
  86. The Offering, a muddled horror film, falls over itself incorporating as many genre elements as possible. The result is the cinematic equivalent of combining every paint color on a canvas: a murky mess.
  87. This film is so heavy with exposition that you would think that the director, Anna Foerster, and the screenwriter, Cory Goodman, had set out to complete a dissertation instead of a sequel.
  88. It is all a contrivance; the cast and filmmakers were under the delusion that putting unhappy women in a room would lead to drama.
  89. Homecoming is coldly efficient for what it is. But what it is is trash.
  90. Just Before I Go, the directorial debut of Courteney Cox, lurches along a wobbly line between salacious comic nastiness and nauseating sentimentality. The two strains are so poorly integrated that the screenplay (by David Flebotte) feels like pieces from two different projects mashed together with little oversight.
  91. If you can discern any critical distance or interesting perspective here, or even a good reason to spend 90 minutes in such company, I'm afraid the joke is on you.
  92. Sandra Bullock looks as if she would rather be shoveling pig waste - though of course in some respects that is exactly what she's doing.
  93. Even without Mr. Rice in the news, No Good Deed would be damaged goods: an inert “Cape Fear” rehash that can’t seem to choose its favorite contrivance.
  94. With the dog days of August upon us, think of this dog of a movie as the cinematic equivalent of high humidity.
  95. The premise had promise, but Baghdad, Texas, a clumsy comedy directed by David H. Hickey, quickly disappoints with an inconsistent tone and painful overacting.
  96. Does little more than add another title to the very long list of movies influenced by George Romero's 1968 horror classic, "Night of the Living Dead."
  97. This sickly sweet concoction sets your teeth on edge.
  98. All you really need to know about Say It Isn't So,the latest flatulent noisemaker from the Farrelly Brothers' gross-out comedy factory, is that late in the movie, Chris Klein punches a cow from behind and finds his arm stuck inside.
  99. Desperately, depressingly in thrall to the Farrelly formula.

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