The New York Times' Scores

For 12,331 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 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Kids Are All Right
Lowest review score: 0 The Singing Forest
Score distribution:
12331 movie reviews
    • 13 Metascore
    • 30 Critic Score
    A recruiting poster for kids, insisting that there’s no domestic problem that military values can’t solve.
  1. The dancers may be skilled, but their work has no meaning in terms of the story -- it's pure spectacle, and numbingly repetitive spectacle at that.
  2. Ms. DeLia serves it up in fragmentary fashion, with lots and lots of writhing, brooding, meaningfully vacant stares and so on. Several scenes are in danger of being unintentionally comic.
  3. A hopeless jumble of visual and linguistic styles.
  4. Mr. Spurlock's film already feels a few years late to the discussion of an easily mockable subject, but it is a dud as a diversion.
  5. The possibilities are intriguing, but the characters are underdrawn, and the pacing lags.
  6. The real-life sisters Hilary and Haylie Duff star in this incompetent spin on the poor-little-rich-girl story.
  7. 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.
  8. This glossy movie from Dan Cutforth and Jane Lipsitz about the Electric Daisy Carnival in Las Vegas feels the burden of promotional urges and lacks a sense of immersion in a multistage event attended by hundreds of thousands.
  9. Terminally glum and waterlogged.
  10. The movie works so diligently to convey a spirit of heroic uplift and fails so completely that it feels like a tragic misfire.
  11. The indoor scenes are so dark that you can barely make out the outlines of the bodies, much less distinguish who is who. Because almost half the film is this dim, it makes for a frustrating viewing experience. The jerky cinematography compounds the irritation.
  12. Cartoonish in its depiction of class disparities, A Little Game gains some subtlety from its performers: Mr. Abraham, an old pro, does fine work alongside Ms. Ballard, a newcomer.
  13. [An] overlong, drab, not-so-funny sports comedy.
  14. In lieu of tension, the film is stuffed with crazed musical crescendos, amateurish structural feints and pregnant pauses that cry out for the familiar “chu-CHUNG” of a “Law & Order” scene change.
  15. A clumsy and confused adaptation of Michael Chabon's 1988 novel.
  16. 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.
  17. 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.
  18. A limp urban comedy not nearly as whimsical as its title.
  19. If nothing else, it’s amusing to imagine what [Mr. Bridges] and Ms. Moore chatted about between takes and how each managed to keep from cracking up, more or less.
  20. The Benchwarmers is the sort of trash that Hollywood does really well. It is also, to quote Mr. Schneider, "a master's thesis on the form of a quintessential Adam Sandler comedy."
  21. Inhale is a creepy medical thriller in the tradition of "Coma" that amps up the tension and suspense by slicing up time.
  22. This floppy British romance, directed by Thea Sharrock and adapted by Jojo Moyes from her best-selling novel, sits at the point where tedium, ridiculousness and heartfelt sentiment converge, separated by an all-but-imperceptible distance.
  23. Neither ambitious enough to take seriously nor sleazy enough to enjoy, The Quiet flirts with the trappings of exploitation cinema without going all the way.
  24. This movie, a chaotic caper film at heart, wrecks its comic tone with some moments of gruesome violence.
  25. This is a message film with the narrative sophistication of a recruiting pamphlet.
  26. It’s as thinly written and unoriginal as made-for-television seasonal filler, and why it isn’t on the Hallmark Channel or Lifetime is a mystery, but fans of the singers in it might get a kick out of seeing them.
  27. If you drink every time you’re reminded of Monty Python’s 1979 Judean jaunt, “Life of Brian,” you might just make it through to the end.
  28. The barnacle-encrusted dumbed down to the studs.
  29. Drab and incoherent teen comedy.
  30. Ridiculous without being awful enough to be hilarious.
  31. Long before it ends Dark Tide capsizes and sinks with a sickening glug.
  32. Most of this is old news. And the filmmakers never make a coherent case, at least not to the layperson. As a result, the film, which runs about 90 minutes, seems painfully long.
  33. Alternately grisly and dull, with few surprises.
  34. No role is sketched out beyond brush strokes, and no relationship is meaningfully examined.
  35. The actors don’t just look uncomfortable in their period duds, they also look uneasy in their own skins, which is a feat for two such natural, physically confident screen performers.
  36. Lorraine Gary has some affecting moments as Ellen, but Jaws the Revenge is mild and predictable, the very things an adventure movie should never be.
  37. This time Mr. Burns is trying something in the Martin Scorsese street-realist mode, but his self-regarding sentimentality trips him up again.
  38. For a would-be skin-and-horror treat, though, Cam2Cam is surprisingly prudish. It doesn’t really traffic in sex; the camera mostly averts its gaze from the murders, preferring blood spatter patterns; and the acting is predictably wooden.
  39. This 95-minute movie is so overstuffed with characters, it would take a whole television season to sort them out and give them any depth. And even then, these people have so little on their minds that 13 hours might not do the trick.
  40. 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.
  41. Reviewing Lemon feels like taking a sucker’s bet, treating the film with a reverence it never even asks for.
  42. The film, financed by a Kickstarter campaign, looks polished enough. But its investors’ money might have been better spent elsewhere.
  43. Nightwatch spends so much time churning up eerie atmospheric effects that it doesn't have time to develop its preposterous story in which Martin finds himself accused of the murders.
  44. Gotcha is about as devoid of personality as it's possible for a narrative movie to be.
  45. Couldn't be more artless.
  46. It’s depressing to see Ms. Moretz — so spirited in “Clouds of Sils Maria” and the “Kick-Ass” movies — reduced to constant mooning at Mr. Roe.
  47. The jokes don't just fizzle into insignificance; they flop about with gaudy ineffectualness, gasping for air like newly landed trout.
  48. You may not believe it's possible to bore people to death with a film about risking your life, but The Wildest Dream comes shockingly close.
  49. Unfortunately, the things that can be funny and even liberating in a movie like "American Pie" end up looking coarse and slightly depressing in the scripted pseudoreality of The Virginity Hit.
  50. There’s nothing wrong with the type of movie Special Correspondents wants to be. The problem is that Mr. Gervais doesn’t appear capable of making a good version of it.
  51. This is the costliest, most logistically complex feature of the filmmaker's career, and it appears that the effort to wrangle so many beasts, from elephants to movie stars and money men, along with the headaches that come with sweeping period films, got the better of him.
  52. Meant to be funny, but it only swells the sinus passages. It is a painfully inept comedy.
  53. As the uniformly annoying characters stumble around, screaming and cursing, we don't give a hoot for their survival. Quite the reverse: we're counting the minutes until the asylum's ghostly inhabitants silence them for good.
  54. Not a shred of suspense enlivens the proceedings, and the movie's idea of humor is having a man slip and slide on a floor covered in blood.
  55. Heroes, co-starring Henry (The Fonz) Winkler and Sally (The Flying Nun) Field, brings to the motion-picture theater all of the magic of commercial television except canned laughter. Well, no truly rotten movie is perfect. Harrison Ford, who may be one of the most-seen movie actors of the day because of his role in Star Wars, is effective in a supporting role too small to make the picture worth seeing.
  56. Dry as new bank notes and doggedly uncinematic, Simon Yin's $upercapitalist approaches the seamy side of international finance with a story as stale as the subprime meltdown.
  57. The career of the actor Dax Shepard hasn't skyrocketed, but neither has it sputtered...Brother's Justice, his flailing, ultralow-budget directorial debut, will not accelerate his professional trajectory.
  58. Characters are simply triggers for the overwrought action sequences, though between the Edward Scissorhands editing and occasional wobbling background, even those are less than distinct.
    • tbd Metascore
    • 30 Critic Score
    A late appearance by a supporting character -- a pushy plumber and aspiring writer named Jim Fortunato (Michael Imperioli), who offers his mentally damaged young ward (played by Mr. Auster’s own daughter, Sophie) as a servant and possible concubine -- pushes the movie from bland pretension into distastefulness.
    • tbd Metascore
    • 30 Critic Score
    A triptych of short films set on and immediately after 9/11, A Broken Sole is based on a stage production by its screenwriter and co-producer, Susan Charlotte. One hopes the material played onstage, because it dies on screen.
  59. It’s all just so much empty eye candy.
  60. For a film about mouthwatering cuisine, it offers only fleeting delectable sensations.
  61. If you’re a boy between, say, 8 and 12 and wired to the hilt on Coca-Cola, the shrill, exhausting “Gold” might be for you. But only if.
  62. Mr. Roth, part of a new breed of horror directors affectionately labeled the "Splat Pack," is regarded by some as a savior of the genre, though it could be argued that he is more effectively a saboteur. He might have mastered the cheap sadism-as-entertainment gross-out, but he has yet to produce a single genuine, old-fashioned fright.
  63. They drink at the pub, they drink at home. They drink until they pass out and then, after they have had a good vomit, they drink again. If that sounds too disgusting to watch, it almost is.
    • 24 Metascore
    • 30 Critic Score
    Since none of the characters makes sense even on the movie's own terms, Highlander keeps on exploding for almost two hours, with nothing at stake.
  64. Its bone-deep willingness to do anything to entertain is exhausting.
  65. It's sad and misguided and boring.
  66. Were it not for the charming Patrick Bruel as a no-nonsense security expert and Alice’s unlikely suitor, this spun-sugar concoction would be well nigh unwatchable.
  67. As these overwritten characters cope and make fresh romantic missteps, the movie cruises obliviously along, littered with glib dialogue and howler developments.
  68. Overdrive has all the features of a potentially entertaining action B-movie for overgrown boys: gorgeous near-mint vintage cars, rugged male performers, seductive female performers, ravishing European locations. What it doesn’t have is a lot of cinematic adrenaline.
  69. Even the handful of moments that are amusing feel recycled from old sketches of Mr. Murphy's.
  70. Indigo is vaguely defined here as having a certain sensitivity and even power, but the movie doesn’t quite share those qualities, collapsing from a lack of direction in more than one sense.
  71. Despite eclectic casting and occasional experiments with objective camera, the director, David Gelb (“Jiro Dreams of Sushi”), can’t breathe similar life into this risible mix of pseudoscientific hokum and supernatural freakouts.
  72. Gone is the original’s joyful sense of mischief; what’s left is an inoffensive piece of twaddle that never fully appreciates the ineluctable bond between community spirit and a drop of the hard stuff.
  73. The movie flouts its intolerance in an attempt at provocative humor. Unless you laugh at fossils, I have no idea why you should buy a ticket to gawk at this dinosaur.
  74. Caught between the harsh demands of a survival story and the emotional beats of a romantic drama, the director, Hany Abu-Assad, grabs hold of neither.
  75. 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
  76. There are a few funny moments in Jack and Jill, most of them celebrity cameos that also serve to affirm what a cool, connected celebrity Mr. Sandler is. The most sustained of these is the appearance of Al Pacino as himself, falling for Jill and giving the film a jolt of genuine zaniness. I'm sorry to say that this may be Mr. Pacino's most convincing performance in years.
  77. The film, directed by Michael Mailer, wanted to be a steamy romance, but it ended up leaden and occasionally laughable.
  78. Doesn't deliver.
  79. Instead, Mr. Carrey turns up in a sloppy second Ace Ventura film that's little more than an echo of the first. A two-minute trailer wouldn't miss many of its highlights.
  80. 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.
  81. 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.
  82. Jolene's skin may smell like warm milk to Brad, but to the rest of us it has curdled long before she leaves his bed.
  83. Amusing one-joke film.
  84. One of the many problems with Gus Van Sant's tortured, worked-over Even Cowgirls Get the Blues is that Sissy Hankshaw talks like a novel, and a dated one at that.
  85. The cast doesn’t quite succeed in keeping the suspense fresh throughout the story’s left turns.
  86. It’s a movie whose good heart is outweighed by its heavy hand.
  87. This time Mr. Altman, such a stunningly intuitive portraitist when he truly plumbs the mysteries that guide his characters, works without inventiveness and with glaring nonchalance.
  88. The scandal of Mr. Clark’s more recent movies, including “Wassup Rockers” and “Ken Park” and this new one, resides more in its tedium and lack of insight than its strenuously provocative content.
  89. There is little to recommend here, even for Huppert completists who follow her anywhere.
  90. So narratively garbled and its screenplay so underwritten that you have to strain to piece together the story.
  91. 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.
  92. The Belko Experiment is a grisly, sick-making exercise in sadism that tries to camouflage its base venality in a thought-experiment plot.
  93. Disappointingly shallow and not terribly funny romantic comedy.
  94. Plagued by clunky action sequences and a porous plot the cast visibly wilts.
  95. A very shallow comedy. For the real thing, rent “The Ref,” in which Kevin Spacey and Judy Davis, with a boost from Glynis Johns, set the house on fire.
  96. (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.

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