The New York Times' Scores

For 9,694 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 Hannah and Her Sisters
Lowest review score: 0 The Price of Air
Score distribution:
9,694 movie reviews
  1. The glimmers of wit and carnival humor in the “Fast & Furious” franchise are nowhere to be found in Getaway.
  2. [A] regrettably hokey first feature from Bryan Anthony Ramirez.
  3. Watching this movie feels like viewing a very long, expensive car commercial and waiting for the real film to begin.
  4. A mess from start to finish — though, judging by the ending, this story won’t be over any time soon — Insidious: Chapter 2 is the kind of lazy, halfhearted product that gives scary movies a bad name.
  5. On screen, where visuals reign and the simple pleasures of language are less paramount, the expanded Jewtopia is just a flat premise, uncomfortable not only because the clichés are groaners, but also because you feel sorry for everyone who’s working so hard to prop up the farce.
  6. Poor computer-generated effects give the movie an unsettling, two-layered feel.
  7. When insects are the best thing in your movie, it’s probably time to retire.
  8. The familiar special effects are not the most disappointing element here. It’s the squandering of the talented Ms. Heche, who is given top billing but almost nothing to do.
  9. There is no story to speak of. Just a series of anecdotes that gain very little when acted out on screen.
  10. One of those projects whose very existence should baffle anyone hardy enough to endure all 94 minutes.
  11. The Book Thief is a shameless piece of Oscar-seeking Holocaust kitsch.
  12. Whatever thoughtful instincts Mr. Castellitto might possess are undermined by his addiction to cinematic prettiness.
  13. For all the shooting, knifing and nattering about sleeper cells, the film feels weirdly static and terminally tired.
  14. Too slight to persuade, The Unbelievers is also too poorly made to entertain. The rational roots of atheism deserve a much better movie than this.
  15. The movie is so incoherent that its screenplay, by Mr. Drolet and Mr. Richards, might as well have been scrawled between takes as it was being filmed.
  16. Filled with sappy dialogue and screeching strings, Truth is a puerile excavation of secrets and sickness.
  17. Is there a point? All the filmmakers seem interested in is the ugliness of the main Israeli characters.
  18. This sickly sweet concoction sets your teeth on edge.
  19. Directed by Shana Feste (“Country Strong”), this new Endless Love doesn’t have enough going on to make it memorably terrible: Banality is its gravest sin.
  20. A thin line separates the magical from the preposterous, and by insisting so strenuously on its own magic, Winter’s Tale pitches helplessly into earnest ridiculousness.
  21. The movie acts like screwball comedy, but there are no laughs as Daisy and Jay’s connection lurches toward implausible romance.
  22. Most of the time, this incoherent thriller resembles an overheated trailer for itself: a glaringly rough assembly of ill-staged computer-generated action sequences and portentous moments.
  23. This female revenge comedy is so dumb, lazy, clumsily assembled and unoriginal, it could crush any actor forced to execute its leaden slapstick gags and mouth its crude, humorless dialogue.
  24. Constant close-ups give the sense that the movie itself is violating viewers’ personal space, while an earnest moral suggests that online communication can’t substitute for face-to-face interaction: a topic Friended to Death doesn’t seem to know much about.
  25. Little of it is funny or genuine, and the benefits and beauty of real faith are nowhere in evidence.
  26. For a film that's so innocuous, Teen Wolf is aggressively boring.
  27. No one expects realism from a movie called Teen Wolf Too... still, the film makers could pretend to know what college is like, might try to liven up the kindly werewolf formula.
  28. Lullaby, the directorial debut of Andrew Levitas, a jack of all artistic trades, is the kind of manipulative, cliché-infested hokum that alienates moviegoers by its insistence on hogging all the tears.
  29. Among Ravens claws itself to death with sophomoric symbolism.
  30. Come Back to Me has seamier goals, employing a quasi-religious conceit to justify its shocks of gore and sexual assault. In that regard, at least, it is grotesquely predictable.

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