The New York Times' Scores

For 9,419 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 2.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Army of Shadows
Lowest review score: 0 Cupid's Mistake
Score distribution:
9,419 movie reviews
  1. 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.
  2. But for all its provocation, Kedma is an often dull, incoherent film, and its characters remain frustratingly sketchy
  3. Appears to be a somewhat sinister episode of "Nightline."
  4. Some kind of equality has been achieved when it is impossible to distinguish heterosexual clichés from homosexual ones.
  5. The relentless upbeatness of Life or Something Like It wrecks the possibility of either real laughter or genuine pathos.
  6. This time Mr. Burns is trying something in the Martin Scorsese street-realist mode, but his self-regarding sentimentality trips him up again.
  7. Alternately grisly and dull, with few surprises. [12 June 1987, p.C6]
    • The New York Times
  8. Should soon join Mr. Greenaway's last few efforts in obscurity.
  9. Mr. Carpenter has directed the film with B-movie bluntness, but with none of the requisite snap. And his screenplay (written under the pseudonym Frank Armitage) makes the principals sound even more tongue-tied than they have to. [4 Nov 1988, p.C8]
    • The New York Times
  10. 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
  11. Disturbingly superficial in its approach to the material.
  12. Starts on a note of relative naturalism and under Mr. La Salle's nuanced direction gradually becomes more and more unhinged until it concludes in an altogether different genre.
  13. It has the melancholy mildew of both "Marty" and the 1940's weepie "The Enchanted Cottage."
  14. Less interested in politics than in profitably flattering the suspicions and resentments of its intended teenage audience.
  15. A piece of moldy wax fruit if ever there was one.
  16. Not even bags of body parts, a bitten-off tongue or a man forced to cut off a pound of his own flesh keep it from being dull. [22 September 1995, p. C18]
    • The New York Times
  17. An unfocused, overplotted, painfully derivative comic fantasy.
  18. This dumb, only intermittently (though sometimes even intentionally) funny sequel presumes that since almost everything else from the 1980's has come back, why not the cynosures of the "Nightmare on Elm Street" and "Friday the 13th" movies?
  19. Disappointingly shallow and not terribly funny romantic comedy.
  20. 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.
  21. An unholy, incoherent mess.
  22. This movie, a chaotic caper film at heart, wrecks its comic tone with some moments of gruesome violence.
  23. The movie equivalent of a box of Froot Loops followed by a half-gallon Pepsi chaser.
  24. They play cotton candy effigies of themselves named Kelly and Justin, and the best that can be said is that they don't embarrass themselves.
  25. A grindingly conventional comedy that insists on tying up its subplots in pretty ribbons and bows.
  26. Emotionally incoherent.
  27. 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.
  28. 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.
  29. The results, to judge from the examples here, have been stuffy and disappointing, an unholy alliance between Playboy Channel prurience and PBS cultural alibis.
  30. It's like watching two superbly conditioned rowers try to race a boat made of folded newspaper. Hard as they work, they just can't make it go any faster.

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