The New York Times' Scores

For 13,067 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 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Untouchables
Lowest review score: 0 Showgirls
Score distribution:
13067 movie reviews
  1. Comprised of so many derivative bits and pieces that it's not surprising the movie has too little narrative coherence or momentum to keep us going, and no characters we care about enough to root for.
  2. 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
  3. A stultifying hybrid of athletic instruction film and Christian sermon.
  4. Certainly, the senselessness of bloodshed may be Mr. Power’s point. But with this setup, such a message is all but muted.
  5. Bland, unrevealing.
  6. An unfocused, overplotted, painfully derivative comic fantasy.
  7. Turns into an impenetrable essay on guilt, memory and the fear of death that even Mr. Langella's gravity cannot salvage.
  8. 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.
  9. A loud, seemingly interminable, and altogether incoherent entry in the preposterous and proliferating “action-comedy” genre.
  10. 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.
  11. 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.
  12. 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.
  13. A piece of moldy wax fruit if ever there was one.
  14. Murky, third-rate martial-arts film.
  15. This crude comedy delivers on the "No Shame, No Mercy" threats from the original. Unfortunately, it all adds up to "No Good."
  16. Relentlessly bright and superficial, even when the subject turns to self-destruction.
  17. SEVERAL of the characters in Dune are psychic, which puts them in the unique position of being able to understand what goes on in the movie.
  18. Himmatwala feels timid and overeager. Except when it’s terrible.
  19. 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.
  20. Its tepid satire of art world pretensions culminates with a visual dirty joke that is mildly amusing but still not worth the wait.
  21. The documentary doesn't get near the prowess of its subject; it passes through your life like a minor daydream.
  22. 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.
  23. 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.
  24. The movie equivalent of a box of Froot Loops followed by a half-gallon Pepsi chaser.
  25. Timing, good jokes and characters you can laugh with and at are mostly missing from Gentlemen Broncos.
  26. A washout.
  27. For a movie premised on unrelenting action, Crank proves fatally turgid.
  28. The sophomoric humor may be absent, but in its place is only a soufflé of whimsy, seasoned with soot, that fails to rise.
  29. Isn't very successful at evoking the dream state, but does a good job of inducing it.
  30. A movie that has neither a coherent point nor an authentic character.
  31. 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.
  32. Ornamenting its flimsy back story with assaultive sound effects and asinine behavior, Out of the Dark strains to shock.
  33. Jessica Goldberg, who wrote and directed the film, prefers showcasing the somewhat treacly soundtrack to fleshing out back stories.
  34. 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.
  35. 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.
  36. Truth or Dare is a wearying slog through crushed feelings and mangled bodies.
  37. 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.
  38. Imagine "Last Tango in Paris" remade as a wan, low-budget romantic comedy.
  39. 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.
  40. 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.
  41. The product - sloppy even by guerrilla filmmaking standards - has no revelations to offer that are worth the slog of watching it.
  42. 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.
  43. 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.
  44. Arriving as inevitably as puberty, Bratz introduces the swollen-headed, fashion-addicted dolls of the title to a live-action movie.
  45. There are many ways for a movie to go wrong, and Tomb Raider goes wrong in many of the most obvious: It has a generic story, bad writing, a miscast lead, the wrong director and no fun.
  46. 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.
  47. 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
  48. A Chorus Line is less a movie than an expensive souvenir program.
  49. 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.
  50. 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.
  51. Slack storytelling (including snippets from a post-film Q. and A. session) and patchy filmmaking seal the unappealing deal.
  52. 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.
  53. Bleeds boredom from every frame.
  54. Emotionally incoherent.
  55. 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.
  56. 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?
  57. 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."
  58. 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.
  59. 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.
  60. 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.
  61. The movie feints in the direction of confronting horrific geopolitical realities, but there’s a specter of sentimentality hovering above the proceedings, waiting to smother everything in sight.
  62. 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.
  63. The emotional impact of Shark Skin Man is negligible.
  64. With little more than the superficial psychology of shallow characters to guide the movie’s squeamish images, Like Me irritates, but it proves unable to provoke more than mild gut reactions.
  65. The picture is a bland procession of loosely framed close-ups, which serve only to underline the amateurish performances.
  66. It's not outlandish enough to work as slapstick, not intelligent enough to make a comment on the fickleness of immigration policy.
  67. This superficial movie plays like a fashion shoot with robes.
  68. Doesn't have a genuinely human moment.
  69. It takes an especially robust sense of self to so openly invite ridicule, rendering the film’s title somewhat less than credible.
  70. An unrelentingly tedious documentary.
  71. Wildly overproduced and filled with fussy flourishes that make even a derelict hallway look like a million bucks, Dark Water fails to rustle up either meaning or meaningful scares.
  72. Predictability and clichés get in the way of comedy here, especially with a lead character who rarely comes across as more than blandly sweet.
  73. Soured by its enervated star and uninspired writing, the movie offers only tiny moments of joy, like a hailstorm of gumballs that's unexpectedly magical.
  74. If you're looking for laughs, give "Valley of the Dolls" another read instead.
  75. The Son of No One self-destructs in a ludicrous, ineptly directed anticlimactic rooftop showdown in which bodies pile up, and nothing makes a shred of sense.
  76. No real mockery is intended by this harmless, mindless grab bag of slightly used gags, which lampoons some of the conventions of recent comic-book epics and adds the expected staples of juvenile humor: urine, vomit and intestinal gas.
  77. Written by Mr. Vaughn and Jared Stern, The Internship spreads the corporate gospel with sporadic jokes, the usual buddy-film shenanigans (a visit to a strip club, a teasingly shared bed) and a lot of motivational cant.
  78. Unlike their spring 2018 fashion collection, Kate and Laura Mulleavy’s first foray into moviemaking, “Woodshock,” is depressingly dull and terminally inarticulate.
  79. This shockingly flabby effort from Mr. Anderson — who, in features like “The Machinist” (2004) and “Session 9” (2001), showed a much surer hand with oppressive atmospheres and troubled psyches — feels as nutty as its characters.
  80. In the preposterous thriller The Forgotten, a pseudospiritual, mumbo-jumbo, science-fiction inflected mess, the director Joseph Ruben does not just fail to tap into Ms. Moore's talent; he barely gets her attention.
  81. RV
    Nowadays no family movie is complete without a values-oriented agenda and a bountiful supply of fecal matter, and RV supplies both.
  82. This emotionally manipulative, heavily partial look at the purported link between autism and childhood immunization would much rather wallow in the distress of specific families than engage with the needs of the population at large.
  83. It’s like a gently distressed company film blown up to feature length.
  84. After barely stirring to life, Night Train to Lisbon mercifully expires.
  85. Borderline incoherent and unrepentantly lewd, this buddy-cop comedy (based on the 1977-83 television series of the same name) substitutes cars, ’copters and motorcycles for actual characters
  86. The talented Ms. Fanning gives a capable performance, and Mr. Konchalovsky and his camera and special-effects crews put a few arresting images on screen, including some frightening metal rat-dogs. But even there they fall short of obvious models like Jean-Pierre Jeunet's "City of Lost Children," and the 3-D treatment adds nothing.
  87. Laugh Killer Laugh is a tired parody that seems to have been constructed from received notions of noir and mob movies. Even the jazzy score sounds like an affectation.
  88. Less sassy than shrill, more crass than clever, the maiden cartoon from the Weinstein Company turns the Little Red Riding Hood legend into a sub- "Shrek" bummer that appears to have been manufactured for the pleasure of tone-deaf kids with a thing for sarcasm, extreme sports, and Andy Dick.
  89. Before Civil Brand erupts into over-the-top melodrama (which is pretty early), it shows some interest in its characters, and in its less screechy moments the dialogue has the rough, bantering ring of actual speech.
  90. A flimsy bit of mildly romantic, putatively comic Anglophile bait.
  91. The battle scenes are as lacking in heat and coherence as the central love story.
  92. Still another, thoroughly depressing demonstration of the extent to which television now dictates the style and the manners of so many of the movies we see in theaters.
  93. [An] inert, exasperatingly proportioned phantasmagoria from Roland Joffé.
  94. This kind of thing might tickle a drunk, way off Broadway audience, but on screen it merely shows the futility of following in the faux-silent footsteps of the director Guy Maddin.
  95. The multicultural milieu lends an initial boost as Mr. Kwek’s jokes and plot entanglements take potshots at life in Singapore, but all the air seeps out of this attempt at zippy, tabloid-nutty storytelling.
  96. Watching Ms. Zellweger’s joyless performance, you have to wonder what happened to this formerly charming actress who not so long ago seemed on the verge of becoming a softer, more vulnerable Shirley MacLaine.
  97. You don’t have to be a historian to wonder about the timing of the opening or a critic to regret that Mr. Crowe has signed onto a preposterous, would-be sweeping historical romance that’s far too slight and silly to carry the weight of real history.
  98. With its heavy symbolism and awkward, lurching pace, A Hole in One leaves viewers with little more than the vague conviction - which I think I already had going in - that falling in love is better than an ice pick to the brain.

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