The New York Times' Scores

For 11,721 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 Children of Men
Lowest review score: 0 Not Cool
Score distribution:
11721 movie reviews
  1. Wants to be everything and adds up to nothing. "War" is a film that tries to excel on several levels and falls flat on all of them.
  2. The film dissolves into a series of diminishing anticlimaxes, ending on a note of portentous ambiguity. To the last, Mr. Levin maintains his uneasy balance of reportage and melodrama.
  3. The film's elegantly tricky cinematography and ominous, pounding score by Hans Zimmer (provocatively juxtaposed with the Rolling Stones), only underline the emptiness behind its technical flash.
  4. The director, Mike Mendez, shows no signs of knowing how to make campy horror work the way that the creators of similar movies on Syfy do. It has to be either subtle or over the top. This is neither.
  5. A would-be erotic thriller with no heat and zero chills, Deception has the kind of glassy, glossy sheen and risible story that mean to suggest "Basic Instinct" but instead invoke lesser laughers like "Jade" and "Sliver."
  6. Some of Mr. Smith’s prior work made me laugh so hard that I cried; Yoga Hosers made me want to cry for different reasons.
  7. Goldie Hawn and Steve Martin are appealing performers, but none of the energy, professionalism and gameness they display -- can surmount the mess that surrounds them in this misguided comedy.
  8. 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.
  9. If 1st Night had a glint of social satire, it might have amounted to something more than a frivolous fatuity. But it plays as an arch, hammily acted farce.
  10. The kindest thing to be said of Movie 43, a star-saturated collection of crude one-joke vignettes made with big-time directors, is that most of the participants seem to relish being naughty.
    • 34 Metascore
    • 30 Critic Score
    It is poorly shot and afflicted by tedious sound (lots of screaming and saccharine music) and inept special effects. It moves with either incomprehensible abruptness or tedious slowness, especially at supposedly suspenseful moments.
  11. Like a soft drink that's been sitting open too long: it's too much syrup and not enough fizz.
  12. As long on adrenaline and special effects as it is short on genuine novelty and intellectual content.
  13. With its fusty air and glumly earnest performances, this unnecessary reminder of Steven Spielberg’s soppy 2011 staging of another of Mr. Morpurgo’s novels, “War Horse,” is about as entertaining as trench mouth.
  14. There isn't much swashbuckling chemistry between Mr. Renner and Ms. Arterton, and the script doesn't give them enough of the witty lines that can elevate these types of movies to must-see status.
  15. A bland, half-finished film that seems to have been conceived as off-peak cable fodder.
  16. Advance word of mouth has suggested that Ms. Basinger...turns in a performance comparable to Meryl Streep's in "Out of Africa." Would that it were so. Ms. Basinger certainly works hard at her role.
  17. It has the melancholy mildew of both "Marty" and the 1940's weepie "The Enchanted Cottage."
  18. The mess we're in never looked so messy.
  19. A movie that pits a substantial actor like Mary McDonnell, playing a New York madam, against a bogus story that crossbreeds noirish affectations and romantic comedy into an unpalatable mush that suggests strawberry ice cream slathered with beer.
  20. What Ouija lacks in wit and originality, it makes up in volume — a trademark of the “Transformers” director Michael Bay, who is one of the producers.
  21. The problem, as it is so often in well-intentioned movies of this kind, is that rather than illuminate the enormity of Nazism, The Aryan Couple trades upon our knowledge of it for emotional impact.
  22. A movie so hopelessly late to the coming-out party that you want to haul everyone connected with it into the 21st century.
  23. A candy-colored, unabashedly sentimental movie.
  24. Despite Mr. Stormare’s valiant efforts, “Dark Summer” (directed by Paul Solet) feels listlessly plotted and insipidly performed.
  25. Dopey, derivative and dull, The Host is a brazen combination of unoriginal science-fiction themes, young-adult pandering and bottom-line calculation. That sounds like it should work (really!), but it never does, largely because the story is as drained of energy as are its moony aliens.
  26. 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.
  27. An incoherent hybrid of buddy movie, "Girls Gone Wild" episode and James Bond spoof that employs cheap cinematic tricks like multiple split screens for no apparent purpose.
  28. If the lineup is bipartisan, the analysis oscillates between apt and obvious, culminating inevitably in amen calls for popular action.
  29. An unruly mash-up of terrific anecdotes and terrible teeth, grainy film and garish memories, Who Killed Nancy? cares less about investigating a death than about vindicating an accused killer.
  30. Mr. Yudin keeps dragging things back to the restaurant and bathroom humor. He sabotages his own story, as well as the creditable work being done by Mr. Qualls and Ms. Reed.
  31. Were it a farce instead of an earnest, paranoid thriller with pretensions to historicity, An American Affair might not seem so offensively exploitative. The fact that it is quite well acted, especially by Ms. Mol, who has the air of a sophisticated 1960s party animal down pat, only compounds the insult.
  32. 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.
  33. By the time the final meal is devoured, you’ll be wanting nothing so much as an antacid.
  34. Skiptrace settles for a warmed-over plot, tedious fight sequences and humor that’s heavy on crotch jokes and pratfalls.
  35. The movie, directed by Gavin O’Connor (“Tumbleweeds”), makes little sense. The screenplay, by Bill Dubuque, is so determined to hide its cards that when the big reveal finally arrives, it feels as underwhelming as it is preposterous.
  36. A Rubik’s Cube of shifting sexual orientation and elaborate sex fantasies, “Sloppy Seconds” gathers all the accouterments of soft pornography -- cheesy music, low-rent acting and attractively framed genitals -- into a plot of stunning imbecility.
  37. Until its climax, which clearly seeks to be congratulated on its restraint, Dark Night is not much more than an arty bore.
  38. One of the most undermotivated plots in many a moon, the zero-wit, zero-gravity misadventures of Nat, I.Q. and Scooter are embarked on merely because they're bored on their garbage dump.
  39. Instantly forgettable film.
  40. Solemn, sentimental bore of a movie that suffocates in its own predictability and watered-down psychobabble.
  41. It’s not clear whether The 9th Life of Louis Drax is deliberately inconsistent or merely an example of confused filmmaking. One thing is certain, however: It sure leaves an unpleasant aftertaste.
  42. An animated clunker.
  43. Looks like a comedy, acts like a comedy and sounds like a comedy, but it isn't funny. This is a problem in a movie that aims for laughs.
  44. An interminable mess of a film that juggles more characters and undeveloped subplots than it can handle and even manages to bungle the setup.
  45. Mental wildly overplays the kookiness and quirk.
  46. Fitfully amusing.
  47. The question is why. Why would a star of Michael Douglas's stature and intelligence attach himself to a Washington thriller as deeply ridiculous, suspense-free and potentially career-damaging as The Sentinel?
  48. As they scheme to secure a mysterious silver briefcase, secrets are revealed, agendas come to light and not a single plausible line of dialogue is uttered.
  49. If nothing else the ramshackle, scatterbrained rom-com What's Your Number? confirms the arrival, heralded by "Bridesmaids," of a new subgenre, the smutty chick flick, into the Hollywood mainstream.
  50. A depressing slog that could have been so much more.
  51. Mr. Hart tells wild tales, Mr. Gad is humiliated, and most everyone else gets to dish out or receive abuse. But the laughs are not a sure thing.
  52. Wrong lets most of its random gags and view-askew premises twist in the wind like hamhandedly wacky improv comedy, punctuated with synthesizer effects. The film’s misguided flatness is perhaps its fatal flaw, not so much deadpan or existential as just monotonous.
  53. Magic in the Moonlight is less a movie than the dutiful recitation of themes and plot points conducted by a squad of costumed actors. The tidy narrative may advance with clockwork precision, but the clock’s most prominent feature is the snooze button.
  54. Mr. McDonagh’s palette and spleen remain mostly intact, but here he’s neglected to include a story or point.
  55. So preoccupied with delivering its effects that it doesn't bother to make sense of its story.
  56. It’s dragged down by non-scene after non-scene, and filmmaking choices that don’t earn their keep.
  57. The movie has a frantic staccato style that is more game-oriented than cinematic.
  58. In films like Quick Change, he is bogged down by scripts that don't begin to match his comic imagination. Even though he chose and developed Quick Change himself, Bill Murray deserves better than this clunky, stereotypical comedy.
  59. Robert Nathan’s Lucky Bastard is a sorry-looking found-footage thriller as unconvincing as its characters’ thrashing orgasms.
  60. The end titles and the ones that introduce Veronica Guerin...are the most informative parts of the film, and also the most powerful. What comes between them is a flat-footed, overwrought crusader-against-evil melodrama, in which Ms. Blanchett's formidable gifts as an actress are reduced to a haircut and an accent.
  61. Everyone spouts nicely turned baloney elevating golf to the level of a religious experience, which grows tedious fairly quickly. The film almost works, though, if you view the whole thing as a very, very dry comedy.
  62. Billy Bob Thornton's leer is much in evidence in the shoddy comedy School for Scoundrels, though the tackiness of the film, its lazy direction and its self-satisfied stupidity may mean that Mr. Thornton curled his lip about the production rather than for it.
  63. Luridly earnest and laughably immoral, Illegal Tender is an old genre movie with a new look. Call it Hispanixploitation.
  64. The cast would have been better served by a middle school production overseen by a creatively frustrated, inappropriately ambitious drama teacher than by this hacky, borderline-incompetent production, which was directed by Will Gluck from a screenplay by Aline Brosh McKenna.
  65. Forlorn melodrama, which is low on drama and high on mellow.
  66. The American version of Kiyoshi Kurosawa's "Pulse" mimics the plot fundamentals, but lacks any traces of Mr. Kurosawa’s creepy minimalism and conceptual rigor.
  67. The movie, which is crudely dubbed into English, lacks the raucous, anything-for-a-shock carnival humor of its American prototypes. After it's over, the only question worth asking is whether dear, cozy old Heidelberg can survive the slander.
  68. The movie’s setup has underdog appeal in spades. But it’s all for naught in a screenplay, by Elissa Matsueda (working from Joshua Davis’s 2005 article in Wired magazine), that plays down intellect in favor of corn and cliché.
  69. The fascist undercurrents of this battle remain unexplored. Maybe one day, Hollywood will figure out that pouring acting-challenged starlets into black neoprene and sticking them in front of a blue screen do not a movie make. We can but hope.
  70. The hapless secret agent heroes of Kabir Khan’s revenge thriller Phantom, could have used some pointers before being sent into the field.
  71. The six actors in the central, edible roles seem as if they could have pulled off a "Scream"-like satire, but since they weren't asked to, there's nothing much for them to do but follow the clearly visible paths to their doom.
  72. The Ottoman Lieutenant is an overwrought nurse romance merged with a history lesson, a combination that is hard to take as seriously as the film wants to be taken.
  73. This lifeless adaptation only proves that making entertaining movies out of hard-to-swallow ideas is as challenging as you might think.
  74. A star can lift a movie like Kick, making its silliness sublime. That doesn’t happen here.
  75. A rude, rollicking and exceedingly raunchy attempt to turn "American Pie" into "American Quiche."
  76. Everything feels secondhand in Guy Moshe's Bunraku, a potpourri of genres that ends up a morass of clichés.
  77. Suffers from a fatal lack of modulation. It paints a picture of inner-city life as an endless sequence of beatings and shouting matches, and in its glum cartoonishness insults the people whose strivings it means to honor.
  78. Slack acting (perhaps aggravated by the harsh lighting design) and the script’s inability to build characters together vaporize the chances for the movie, which is both smugly clever and at times distastefully clueless.
  79. Mr. Gianvito's approach cannot really be called critical, since criticism would require some cogent analysis of causes and events.
  80. Mr. Cattaneo restricts himself to the smiling blandness that has become the stock in trade of British comedies made for export, turning in a film that is forced, familiar and thoroughly condescending.
  81. There is an essential meanness to the entire project, tapping the manipulative power of taunts. Such jokes don't jibe with the times, the culture.
  82. The screenplay, by Mr. Cooper and Jonathan D. Krane, is so sketchy that it feels like a hastily executed first draft.
  83. This belabored comedy, directed by Benjamin Epps, has a slick visual veneer and some capable performances, especially by Ms. Rulin and Ms. King. But the script, by Matt K. Turner, is loaded with contradictions, its hollow flirtation with subversion amount to airplane pablum.
  84. The movie is predictably sentimental at its root, but it’s also meant to be comedy, partly resting on Mr. Williams’s energetic but failed attempt to play a jerk.
  85. 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.
  86. Has shockingly little to say.
  87. Such few assets aren't enough to alleviate the film's shallowness.
  88. We’re meant to warm to Hannah and Andrew as they wear each other down with good-natured ribbing. But Ms. Hall and Mr. Sudeikis hardly warm up themselves, showing little chemistry and looking unsure how to play the film’s tone, or the would-be zingers.
  89. Anyone looking for the lowdown on haute cuisine will be sorely disappointed: devoid of emotion, context or narrative, the baffling avant-garde techniques and extreme politesse of the lab become oppressively dull.
  90. Lazer Team ends by setting itself up for a sequel, but that’s mighty wishful thinking. There’s not a big demand for laugh-free comedies.
  91. Sabotage isn’t any good, even if its jagged, jolting visual excesses and frenzied energy keep you awake, gasping and guffawing by turns.
  92. Really, it's all as funny as a hernia.
  93. For every necessary touch that Valmont has reduced or dispensed with (the climactic duel scene, for instance), there is another, less vital moment that has been expanded.
  94. So why? Why would stars of the magnitude of Mr. Cage and Ms. Kidman sign on to a project whose screenplay is so inept that the movie, even if profitable, will stand as a career-impeding setback? Can't they read?
  95. Like his scripts for “21 Grams” and “Babel,” this one makes heavy use of happenstance and temporal displacement, and like them, too, it depends on ideas about human behavior that can only be called preposterous.
  96. A muddled film with John Waters aspirations.
  97. Appears to be a somewhat sinister episode of "Nightline."
  98. The actors are uniformly handsome and mostly serviceable, though the same can’t be said about the filmmaking or the writing.
  99. Only adds to the sense that Mr. Konchalovsky has lost his artistic moorings. He has certainly lost his common sense.

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