The New York Times' Scores

For 11,559 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 Bird People
Lowest review score: 0 The Best and the Brightest
Score distribution:
11559 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. The movie is like spending an idle afternoon browsing, and not buying.
  5. 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.
  6. A messy collision of strained portrayals, semi-comic incidents and tear-jerking tactics.
  7. 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.
  8. 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.
  9. 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.
  10. Pointing at everything and elucidating nothing, Hello Herman arrives freighted with the anti-bullying agenda of its director, Michelle Danner.
  11. The indecipherable motivations and half-baked subtexts present formidable challenges to the cast and the audience.
  12. In the end, the filmmaker’s message is nearly lost in this poorly constructed film.
  13. In general, the film feels like all setup and no punch line.
  14. A movie that is as stuffed with bogus feeling and overwrought incident as a fast-food burrito.
  15. 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.
  16. As witless as it is formulaic.
  17. 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.
  18. 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.
  19. For all its intimations of fire and brimstone, the film isn't remotely frightening, and the high-school-level acting doesn't help.
  20. The biggest offender is the director, Imtiaz Ali, who, also again collaborating with Mr. Kapoor, actually celebrates two love affairs: Ved and Tara’s, and (given Ved’s universal adulation) Mr. Ali’s with his own self-aggrandizing vision of his calling.
  21. 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.
  22. Something is off with Every Thing Will Be Fine. Even for a movie about a writer detached from his emotions, it’s ponderous, like a lucid dream gone bad.
  23. Metamorphoses from a character study into a confusingly edited sampler of sexual possibilities that feels both programmatic and old-hat.
  24. Some kind of equality has been achieved when it is impossible to distinguish heterosexual clichés from homosexual ones.
  25. 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.
  26. A semicoherent, overacted mélange of travelogue, farce and suds.
  27. 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.
  28. 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.
  29. Although independently funded, it was directed by a longtime collaborator of Mr. Kamen’s with the clear purpose of getting the word out about the product.
  30. Overplotted, hollow thriller.

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