The New York Times' Scores

For 11,482 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 Last Circus
Lowest review score: 0 Gamer
Score distribution:
11482 movie reviews
  1. James Cameron upstages the ocean in Deepsea Challenge 3D, a shallow vanity project that invites us to join him in marveling at his own daring.
  2. Bravetown, directed by Daniel Duran from a screenplay by Oscar Orlando Torres, can sometimes drown in its own tears.
  3. See No Evil devolves into an increasingly bloody and creative string of butcherings and impalings.
  4. The fall-off in sexiness, soulfulness and wittiness from Ms. Gugino and Antonio Banderas, the parents in the first three "Spy Kids" films, to Ms. Alba and Joel McHale is whiplash steep.
  5. In Twins, which is supposed to be funny, the former Mr. Universe and pint-sized Danny DeVito play twins, the result of a genetic experiment that went awry. To the extent that Twins is carried by anybody, it is carried by Mr. DeVito. Mr. Schwarzenegger is dead weight. [9 Dec 1988, p.C18]
    • The New York Times
  6. Squandered in foolish horseplay and on a story that zigzags so far out of control that it feels as if the screenwriter, Steve Adams, pasted together a bunch of zany notions in a frantic search for confusion.
  7. Mr. Rosebiani evidently wants to avoid depressing his audience while addressing a serious subject, but his aims are likely to be lost in this film’s strained mugging.
  8. The kids of today deserve better. So do I, come to think of it.
  9. Mr. Gyllenhaal’s strong performance still doesn’t add enough substance to a film that is hollow at the center. It’s mostly the fault of Mr. Sipe, who seems to believe that saying nothing is saying something.
  10. The amateurish production values might be pardonable if the clichés -- the hard-core porn star with the soft heart, the therapist who needs to heal herself -- inside the poorly lighted, badly shot images weren’t so absurd and often insulting.
  11. As depressing as the résumés of its 9-to-5 characters, The Strip sweats to wring laughs from overworked themes and underwhelming performances.
  12. By the end the most vivid figure on the screen is the lovable doggie who goes wherever dangling fingers are waiting to give the happy pooch a scratch.
  13. The movie plays like a made-for-television quickie.
  14. Feels like a desperate attempt to stretch a flimsy half-hour made-for-cable concept into a feature film.
    • 34 Metascore
    • 30 Critic Score
    The director, James Wan, and the writer, Leigh Whannell (the team behind the controversially brutal "Saw" series), deliver the mandatory shocks and gross-outs, backed by dissonant bursts of music and made almost elegant by the cinematographer John R. Leonetti's desaturated images.
  15. The clichéd story line pursues turgidity with a relentless determination.
  16. A.C.O.D., an unfunny comedy about a guy mooning over his parents’ divorce decades later, is so eager to please it’s hard to hate. But it’s sluggish even at 87 minutes, clichéd and gives you nothing of interest to look at other than some familiar faces.
  17. Zombies, Arnold Schwarzenegger and a certain Terrence Malick je ne sais quoi — what could go wrong? More or less everything in this low-budget head-scratcher and periodic knee-slapper.
  18. Remains a sadly earthbound thing, mired in a dismal realism that lies far from its natural environment.
  19. One of the things that makes Adore, which was written by Christopher Hampton, hard to take seriously is how seriously it takes itself, how utterly purged of humor or credible human complication the drama at its center turns out to be.
  20. Of all the shoddy, insipid qualities of Bangkok Dangerous, the most egregious is the most fundamental: The film is simply dreadful to look at.
  21. A story that kicked off two years ago at a reasonable gallop has now slowed to barely a limp.
  22. This reheated “Sex and the City” adventure flops, even with Leslie Mann and Rebel Wilson hard at work being funny.
  23. Aiming for a moody portrait of psychological distress, Mark Jackson directs with a sluggish pace, an abstract style and a dismal aesthetic that rebuff involvement.
  24. This poorly acted, ramshackle tour of the lower echelons of the Los Angeles rock scene has the feel of a largely improvised home movie filmed without retakes, and its sense of humor could only be fully appreciated by struggling musicians.
  25. It’s a phoned-in, gutless piece of hack work that reminds you of other, better films in the same vein.
  26. If realism is what you're after, you'll do better at "The Three Stooges." The Lucky One is where you will find death, redemption and kisses in the rain.
  27. The movie, which imagines its principal characters as metaphorically ticking time bombs, never convincingly portrays their passions.
  28. Doesn’t seem as if it would translate easily to the big screen. It hasn't.
  29. The result is that what was once insignificant is now insufferable.

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