The New York Times' Scores

For 9,990 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Sugar
Lowest review score: 0 Bio-Dome
Score distribution:
9,990 movie reviews
  1. Try as it might to be refined and provocative, Perfume: The Story of a Murderer never rises above the pedestrian creepiness of its conceit.
  2. Raunchier and somewhat more imaginative than “Hot Rod.”
  3. For a romantic comedy that doubles as a mockumentary, it can be downright creepy.
  4. Like too many big-studio productions, Cloverfield works as a showcase for impressively realistic-looking special effects, a realism that fails to extend to the scurrying humans whose fates are meant to invoke pity and fear but instead inspire yawns and contempt. Rarely have I rooted for a monster with such enthusiasm.
  5. Lord Lloyd Webber's thorough acquaintance with the canon of 18th- and 19th-century classical music is not in doubt, but his attempt to force a marriage between that tradition and modern musical theater represents a victory of pseudo-populist grandiosity over taste - an act of cultural butchery akin to turning an aviary of graceful swans and brilliant peacocks into an order of Chicken McNuggets.
  6. Smooth and folksy, it traffics in broad, unchallenged claims that serve a single purpose: to persuade us that the only thing wrong with today’s farming methods is our misinformed perception of them.
  7. A generic coming-of-age movie whose arrival on the scene suggests that the audience for gay indie clunkers is inexhaustible.
  8. This well-intentioned “docu-comedy” (as the filmmakers label it in publicity notes) is not very funny.
  9. Many of the faces that emerge through the murk appear bug-eyed. And much of the dialogue, which is frequently shouted, is only semi-intelligible.
  10. A ski party movie in which the clothes are a little more revealing than they were 35 years ago, the practical jokes are a little more tasteless, and the uncertainty over sex is pretty much nonexistent.
  11. Marc Forster takes a maximalist approach to this mumbo jumbo, which means that in addition to lots of wacky angles, shiny surfaces, seemingly endless stairs, and sets of twins, triplets and quadruplets, he deploys the unsettling vision of three talented actors - Ewan McGregor, Naomi Watts and Ryan Gosling - straining credulity and neck tendons in the service of serious claptrap.
  12. In grabbing for the heart this one-size-fits-all fable sadly ignores the mind.
  13. Gregory M. Wilson, the film’s director, has made the kind of movie that makes you wish you could rinse your brain in bleach, to wash all traces of it from your memory.
  14. Shirley’s instant metamorphosis from insecure high school student to ruthless madam is ludicrous in spite of the best efforts of the talented Ms. Waterston to convince you otherwise. The Babysitters has the increasingly jerky momentum of a film that was butchered in the cutting room, sacrificing continuity and character development to whip the plot forward.
  15. From its "once upon a time" beginning to the anticlimactic end, Footprints remains fatally lodged in La-La Land.
  16. I don't think Mr. James intended to make a creepy, exploitative movie about teenage runaways - or, for that matter, a moralistic, cautionary tale of girls gone bad. But those are the default categories that Little Birds stumbles toward, perhaps because the filmmaker has not found a cogent way to channel his curiosity or his empathy.
  17. By Monday, Torque will look like a period piece with its expiration date, January 2004, prominently displayed. The inevitable movie-inspired video game will appear more realistic.
  18. Tricked up with an elaborate flashback structure, subtitled dialogue in three languages and as many gratuitous aesthetic touches as the traffic will bear, Proteus emerges as a heavy, pretentious and derivative film.
  19. The filmmakers are smart enough to keep the monster out of sight for a long time and then to show only glimpses, but a similar tactic of providing only glimpses of plot and character is disastrous.
  20. The movie is like spending an idle afternoon browsing, and not buying.
  21. A messy collision of strained portrayals, semi-comic incidents and tear-jerking tactics.
  22. Harnessing mostly fine actors to a wholly asinine script, the directors, Melisa Wallack and Bernie Goldmann, have created a movie as spineless and dithering as its benighted namesake.
  23. Hallie's dad said it was Rocky Horror for toddlers whatever that is. Me and Hallie are 7 and we thought it was for babies.
  24. Pointing at everything and elucidating nothing, Hello Herman arrives freighted with the anti-bullying agenda of its director, Michelle Danner.
  25. In the end, the filmmaker’s message is nearly lost in this poorly constructed film.
  26. In general, the film feels like all setup and no punch line.
  27. A movie that is as stuffed with bogus feeling and overwrought incident as a fast-food burrito.
  28. Muddy sound contributes to the atmosphere of confusion, while the script (credited to the director, Nick Gaglia, along with Mr. Gallagher and Ms. Donohue) goes nowhere.
  29. As witless as it is formulaic.
  30. Nothing in the picture works. It is both overwrought and tedious, its complicated narrative bogging down in lyrical voiceover, long flashbacks and endless expository conversations between people speaking radically incompatible accents.

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