The New York Times' Scores

For 13,168 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 Elle
Lowest review score: 0 The Emoji Movie
Score distribution:
13168 movie reviews
  1. 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.
  2. 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.
  3. A generic coming-of-age movie whose arrival on the scene suggests that the audience for gay indie clunkers is inexhaustible.
  4. This well-intentioned “docu-comedy” (as the filmmakers label it in publicity notes) is not very funny.
  5. 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.
  6. Mr. Taylor offers up nothing but glitchy editing and bad vibes.
  7. 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.
  8. 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.
  9. In grabbing for the heart this one-size-fits-all fable sadly ignores the mind.
  10. 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.
  11. 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.
  12. From its "once upon a time" beginning to the anticlimactic end, Footprints remains fatally lodged in La-La Land.
  13. 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.
  14. The film jabs so relentlessly at the viscera that the audience is never allowed to notice anything independently; if Mr. Joanou wants you to spot a license plate, for instance, he drives the car right into a floor-level camera.
  15. 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.
  16. 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.
  17. 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.
  18. The movie is like spending an idle afternoon browsing, and not buying.
  19. My Dead Boyfriend desperately tries to look and sound like a quirky indie hit, but that’s not an achievable goal when you have an unlikable lead character indifferently rendered by a name star.
  20. A messy collision of strained portrayals, semi-comic incidents and tear-jerking tactics.
  21. 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.
  22. Unlike the juicy, overripe prose in the novel from which it was adapted, Mr. DeCubellis’s screenplay is utterly lacking in style. Mr. Brody captures his character’s attitude, but the colorless screenplay robs the character of literary imagination.
  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.
    • 37 Metascore
    • 30 Critic Score
    After they all start off, and once you get used to the rather handsome speeding-car effects, which is soon, the movie seems to be nothing but one long exhaust pipe. There is only so much that can be done with scenes of cars passing each other.
  24. Pointing at everything and elucidating nothing, Hello Herman arrives freighted with the anti-bullying agenda of its director, Michelle Danner.
  25. The indecipherable motivations and half-baked subtexts present formidable challenges to the cast and the audience.
  26. In the end, the filmmaker’s message is nearly lost in this poorly constructed film.
  27. In general, the film feels like all setup and no punch line.
  28. A movie that is as stuffed with bogus feeling and overwrought incident as a fast-food burrito.
  29. 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.

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