The New York Times' Scores

For 11,635 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Artist
Lowest review score: 0 Waiting...
Score distribution:
11635 movie reviews
  1. Spouting stiltedly clichéd dialogue...the actors struggle to sell their characters. Only Mr. Harris eventually succeeds, conveying, in a single speech, what it must be like to be the parent of an addict.
  2. The human landscape of Palindromes is a vista of grotesqueness, dishonesty and creepiness. These are qualities Mr. Solondz has explored before, but this time he fails to make them interesting, partly because he lets himself and the audience off the hook.
  3. Less methodical and witty than its predecessors, Patient Zero often turns its infected characters into mindless, lurching zombies.
  4. Dan Kay’s filament-thin story, accessorized with flapping vultures and disturbing graffiti, relies entirely on Mr. Cage’s desperate-dad energy.
  5. The filmmakers’ aversion to coherent narrative and genuinely suspenseful visuals (not to mention a penchant for having Ms. Moore receive terrible news via cellphone) keep the movie’s mystery stew from hitting the spot.
  6. Turtle Hill is inconclusive from start to finish, and while that appears purposeful, it’s also pretty dull.
  7. Could serve as a textbook example of what to avoid in nonfiction filmmaking.
  8. Taken starts in low gear and almost immediately stalls out.
  9. Probably should have stayed on a shelf back in Paris.
  10. It somehow manages to feel more like a Hallmark Channel romance than like a serious film.
  11. The film’s director, Jon M. Chu, executes a pretty good high-altitude fight scene. Still, there should be a “Fans Only” sign at the door of every theater.
  12. The product is so synthetic it has only attitude where its heart ought to be.
  13. Feels like a religious tract more than a movie.
  14. A depressing two-hour infomercial pitching Times Square as the only place in the universe you want to be when the ball drops at midnight on Dec. 31. (Believe me, it's not.)
  15. A deeply silly drama of corrupted innocence.
  16. Like Warwick himself, the movie begins to run amok after a taut and tantalizing first act. Not even Mr. Hyde Pierce's best efforts can make sense of a character who by the end of the film seems to be a completely different person with the same name.
  17. A low point in the director’s career, this sleek chilly film isn’t acted so much as posed.
  18. Should soon join Mr. Greenaway's last few efforts in obscurity.
  19. 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.
  20. Table 19 is so awkwardly structured and tonally off-kilter that its moments of catharsis feel wholly unearned.
  21. Kafka is opaque without ever being mysterious, frightening or suggestive of anything but movie making. Its chases through dark narrow streets don't create suspense, since nothing is at stake.
  22. There’s a way to tell this story that wouldn’t come across as soggy or manipulative. However well intentioned, Louder Than Words doesn’t find that tone.
  23. A howlingly silly, moderately diverting exercise in high, pointless style.
  24. There are dull stabs at verbal wit that leave you baffled, bored or slightly grossed out.
  25. Works hard at being charming, but comedy is best when it looks effortless.
  26. Tourism is what it has to sell.
  27. A leaden, skimpily plotted space-age Outward Bound adventure with vague allegorical aspirations that remain entirely unrealized.
  28. One of those who’s-the-murderer parlor games is a plot pillar of Merry Christmas, an experiment in filmmaking by Anna Condo that itself feels like a parlor game, and not a particularly entertaining one.
  29. An unappealing jumble of sex, regret and hero worship, “Bert Stern” is an odd tribute to brilliance muffled by lust.
  30. Proving once again that skillful performances can't create something out of almost nothing - the best they can do is make it palatable.
  31. The movie isn’t interested in fully developed characters, just carnage.
  32. This existentially and aesthetically unnecessary sequel to the equally irrelevant if depressingly successful "Fantastic Four."
  33. It is so vague, cliché-ridden and devoid of surprise and suspense that once you grasp its premise, watching it is like leafing through a design magazine kept in a refrigerator.
  34. Unfolds with such utter looniness that the horrible final moments are more likely to inspire laughter than shock. Casually insulting our emotions and intelligence, Mr. Stanzler seems to have shaped his film with one goal in mind: to prove that audacity and recklessness are acceptable substitutes for craft and common sense. Needless to say, they're not.
  35. 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.
  36. It is the absence of genuine comedy that exposes glaringly the film's fundamental attitude of condescension and scorn toward blacks and women, and a tendency toward stereotyping that clashes violently with its superficial message of tolerance, compassion and fair play.
  37. 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.
  38. Maybe Mr. Johnston, who has directed television commercials and music videos, intended this to be a guessing game. But the method robs the real encounters of their power and, even more important, trivializes the subject.
  39. The dialogue reports funny things instead of showing them. The movie remains in a limbo halfway between the informed anarchy of Monty Python comedy stripped of all social and political satire, and the comparatively genteel comedy of "The Lavender Hill Mob." [15 July 1988, p.C8]
    • The New York Times
  40. A stultifying hybrid of athletic instruction film and Christian sermon.
  41. Bland, unrevealing.
  42. An unfocused, overplotted, painfully derivative comic fantasy.
  43. Turns into an impenetrable essay on guilt, memory and the fear of death that even Mr. Langella's gravity cannot salvage.
  44. 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.
  45. A loud, seemingly interminable, and altogether incoherent entry in the preposterous and proliferating “action-comedy” genre.
  46. Dramatically as well as visually, The Musketeer conflicts with itself by trying to blend grand old- school costume drama and MTV- style rhythm and attitude into the same movie. The juxtapositions are often preposterous.
    • 28 Metascore
    • 30 Critic Score
    The movie genuflects toward pop depth in a scene where Grace sprawls on a motel bed watching Alfred Hitchcock’s "Birds," another thriller about implacable, undefined evil, but there’s a difference between refusing to give viewers the answers and having nothing to say. For all its death-metal vigor, The Hitcher falls into the latter camp.
  47. All Relative, a tepid romantic comedy written and directed by J. C. Khoury, thinks it’s being surprising, but really it’s merely weaving several male sex fantasies together and making nothing insightful out of the resulting story.
  48. This witless installment features the usual ultra-slow-motion mayhem and helpful freeze-frames to allow us to admire the extra dimension. Fans will not be happy, however, to learn that Ms. Jovovich is more decently clothed this time around.
  49. A piece of moldy wax fruit if ever there was one.
  50. Murky, third-rate martial-arts film.
  51. This crude comedy delivers on the "No Shame, No Mercy" threats from the original. Unfortunately, it all adds up to "No Good."
  52. Relentlessly bright and superficial, even when the subject turns to self-destruction.
  53. Himmatwala feels timid and overeager. Except when it’s terrible.
  54. Flashbacks and fantasy sequences undercut the claustrophobic atmosphere. What’s left is amateurish play acting — pointless for anyone who hasn’t seen “Portrait of Jason” and redundant for those who have.
  55. Its tepid satire of art world pretensions culminates with a visual dirty joke that is mildly amusing but still not worth the wait.
  56. The documentary doesn't get near the prowess of its subject; it passes through your life like a minor daydream.
  57. As she learns the value of public schools and pickup trucks, her erstwhile friends in Philadelphia seem happy to be rid of her. By movie's end, you'll feel exactly the same.
  58. It’s the kind of movie that makes you zero in on and root for an actor (Ms. Madigan) as she tries to wring something real out of her lines, but there’s no saving this film.
  59. The movie equivalent of a box of Froot Loops followed by a half-gallon Pepsi chaser.
  60. Timing, good jokes and characters you can laugh with and at are mostly missing from Gentlemen Broncos.
  61. A washout.
  62. For a movie premised on unrelenting action, Crank proves fatally turgid.
  63. The sophomoric humor may be absent, but in its place is only a soufflé of whimsy, seasoned with soot, that fails to rise.
  64. Isn't very successful at evoking the dream state, but does a good job of inducing it.
  65. At one point Ben helpfully looks under the house to see what might be causing the ruckus. "Watch out for spiders!" Kelly says. Actually, Ben - and the filmmakers - have a lot more to worry about.
  66. Ornamenting its flimsy back story with assaultive sound effects and asinine behavior, Out of the Dark strains to shock.
  67. Jessica Goldberg, who wrote and directed the film, prefers showcasing the somewhat treacly soundtrack to fleshing out back stories.
  68. Soon after that the movie simply stops dead in its tracks, as though the money had run out and the project had been called off in the middle of a scene that makes no psychological or dramatic sense. It leaves you frustrated and annoyed.
  69. Not that Madonna has gone in for originality, which isn't really her thing: rather, instead of repurposing a genre, she has riffled through the art-house catalog for inspiration, as evidenced by the film's intentionally grubby visual texture, jumpy editing, direct-address commentary, freeze frames and other tricks.
  70. 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.
  71. Imagine "Last Tango in Paris" remade as a wan, low-budget romantic comedy.
  72. 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.
  73. While the oafish men come off poorly, the treatment of women as nothing more than schemers and monstrous Martha Stewart clones seems woefully past its expiration date.
  74. The product - sloppy even by guerrilla filmmaking standards - has no revelations to offer that are worth the slog of watching it.
  75. Preposterousness is not necessarily a vice, and plausibility is a weak virtue. Just ask Alfred Hitchcock. So to say that the conceits of The Forger (directed by Philip Martin) are ridiculous isn’t really saying much. It’s also dull, incoherent and drab to look at.
  76. 300
    Another movie -- Matt Stone and Trey Parker's "Team America," whose wooden puppets were more compelling actors than most of the cast of 300 -- calculated the cost [of freedom] at $1.05. I would happily pay a nickel less, in quarters or arcade tokens, for a vigorous 10-minute session with the video game that 300 aspires to become.
  77. Arriving as inevitably as puberty, Bratz introduces the swollen-headed, fashion-addicted dolls of the title to a live-action movie.
  78. Mr. Lichtenstein seems to want your tears. Nothing wrong there. The problem is that, because he never settles persuasively into one groove -- you don’t believe the tears or the smiles or anything in between -- he can’t begin to approach the complex contradictions suggested by his movie’s title.
  79. Filled with voyeuristic shots as the camera peers through picket fences and windows and around corners; the film looks as if it were shot with a surveillance camera from a 7-Eleven
  80. A Chorus Line is less a movie than an expensive souvenir program.
  81. You might blame Nora Ephron, whose screenplay for “When Harry Met Sally” established the formula that I Hate Valentine’s Day runs into the ground. Compared with this, Ms. Ephron is Chekhov.
  82. Straining to capture artistic frenzy, it descends into vulgar chaos, less a homage to Federico Fellini’s “8 ½” (its putative inspiration) than a travesty.
  83. Slack storytelling (including snippets from a post-film Q. and A. session) and patchy filmmaking seal the unappealing deal.
  84. In Ms. Mirren's first film to be directed by her husband, Taylor Hackford, since "White Nights" in 1985, her formidable dramatic resources can't camouflage flat writing that eventually veers into gloppy sentimentality. At times even Ms. Mirren, who adopts a regionless American accent, seems uncomfortable.
  85. Bleeds boredom from every frame.
  86. Emotionally incoherent.
  87. Rudderless, the misbegotten directorial debut of William H. Macy, is so dishonest, manipulative and ultimately infuriating that it never recovers after its bombshell revelation two-thirds of the way into the movie.
  88. The main audience for this dim little sex comedy has no particular interest in seeing Ms. Alba act. They want to see her in her underwear and also to confront one of the central cultural questions of our time: will she take her top off?
  89. 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."
  90. Hilary Brougher’s Innocence (based on Jane Mendelsohn’s 2000 novel) moves to the formulaic beats of the second-rate TV movie, albeit one cloaked in an ultra-glossy sheen.
  91. Rob Schneider runs an obstacle course of taste and emerges remarkably unsullied, considering the choices he faces.
    • 28 Metascore
    • 30 Critic Score
    This is another tired kidsploitation product.
  92. Unfortunately, poor execution prevents the movie from achieving an authentic throwback feel. Although the principal cast members are Broadway veterans, here they struggle with technological and tonal issues.
  93. Pan
    The dominant emotion in Pan is the desperation of the filmmakers, who frantically try to pander to a young audience they don’t seem to respect, understand or trust.
  94. The emotional impact of Shark Skin Man is negligible.
  95. The picture is a bland procession of loosely framed close-ups, which serve only to underline the amateurish performances.
  96. It's not outlandish enough to work as slapstick, not intelligent enough to make a comment on the fickleness of immigration policy.
  97. This superficial movie plays like a fashion shoot with robes.
  98. Doesn't have a genuinely human moment.

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