The New York Times' Scores

For 9,974 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:
9,974 movie reviews
  1. The movie’s only fresh element is the wintry setting, which shrouds everything in a mood of weary fatalism. Otherwise, it’s the same old, same old, efficiently discharged and utterly disposable.
  2. For all its intimations of fire and brimstone, the film isn't remotely frightening, and the high-school-level acting doesn't help.
  3. In his sour little movie When Do We Eat?, the director Salvador Litvak, like many before him, misses the target, landing instead in the adjacent territories of Tries Too Hard and Bad Taste.
  4. Metamorphoses from a character study into a confusingly edited sampler of sexual possibilities that feels both programmatic and old-hat.
  5. Some kind of equality has been achieved when it is impossible to distinguish heterosexual clichés from homosexual ones.
  6. 13
    What does it add up to? Nothing much. A tense, paranoid nightmare with a chilly metaphysical overview has been trampled into a blustering, bad cartoon.
  7. A semicoherent, overacted mélange of travelogue, farce and suds.
  8. A dreary, interminable drama written and directed by Eva Aridjis, is exactly one-third of a good movie. That third is Frank Wood's beautifully modulated and modest central performance.
  9. As this strained, foul-mouthed exercise in gallows humor proceeds, God’s Pocket sustains a facade of meanspirited deadpan comedy. But there are no laughs, not even smirks to be had.
  10. Overplotted, hollow thriller.
  11. In the end you have to wonder why the highly reputed director Michael Apted ("Coal Miner's Daughter") and the gifted screenwriter Nicholas Kazan ("Reversal of Fortune") chose to go slumming in territory like this. They must have been offered wads of money to do the dirty job.
    • The New York Times
  12. Flagrantly old-fashioned, triple-hankie tear-jerker.
  13. Ms. Zeta-Jones is too elegant for the lowlife she's supposed to be, Ms. Ronan isn't endearing enough to be a ragamuffin, and, under Gillian Armstrong's direction, never for a minute do you believe they're mother and daughter.
  14. Mr. Girod is a fish out of water in the after-hours clubs and deserted industrial districts that constitute the sexual underworld of Brussels. His film feels more like what one would see from the top of a double-decker tourist bus than the work of someone who has immersed himself in a sexual subculture and its particular values.
  15. Unlike such forerunners as “Clueless” and “Mean Girls,” however, this movie, doesn’t have a believable moment in it.
  16. The quirky characters they meet aren't quirky enough, and the political points Ms. Bettauer sprinkles into her script thud awkwardly.
  17. Underdog may have been originally created to sell cereal for General Mills, but this latest incarnation couldn't sell Frisbees at a dog park.
  18. The Rambler...feels like a slender plot with additional scenes pasted on.
  19. A family circus of dysfunction that's so familiar you may feel tempted to place bets on how everything will shake out.
  20. Proves that a movie about goodness is not the same thing as a good movie.
  21. Tries to show it has its heart in the right place, but it's such a crude undertaking that it doesn't actually seem to have a heart at all.
  22. Mr. Leguizamo, 50, still has charisma, but with his maniacal stage persona barely seen and the themes recycled from earlier projects, Fugly! is a dud.
  23. That "The Keeper" was made by a novice is evident in the visible seams between the present-day narrative and the flashbacks; the whole thing plays like a loopy amalgam of stilted costume picture and after-school special.
  24. Unfortunately, the movie's real setting is a sentimental fantasy world, and its story is a spectacularly incoherent exercise in geopolitical wish fulfillment.
  25. In the movie's cheapest, most exploitative gesture - just as it is about to run out of tricks - a snake slithers into the pine box in which Paul awakens bound and gagged, not knowing where he is. With that gimmick, the movie sacrifices its last shred of integrity.
  26. Feels like an early rehearsal for a play where all the movement is being coordinated but the underlying emotional notes have yet to be set.
  27. I suppose Rumor Has It could be worse, though at the moment I'm at a loss to say just how.
  28. The film's bright look and visual energy are much more liberating than the machinations of its teen queens.
  29. Unevenly directed by Isaac Feder, Sex Ed droops.
  30. The film is more of a pageant than a convincing drama. It’s so determined to deliver its moral that it loses its grip on the reality of its characters.

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