The New York Times' Scores

For 9,990 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 The Camden 28
Lowest review score: 0 Hush
Score distribution:
9,990 movie reviews
  1. Plays more like a nightmare than a dream, and an exceedingly unnerving one at that. Sam isn't just a prisoner of her parents' ambitions; like nearly everyone else in this film, she's a zombie, sleepwalking through life while Rome burns.
  2. May lead to a new axiom: success has many fathers, but failure has "Project Greenlight."
  3. An awkward “Lord of the Rings” knockoff, it features both elaborate battles and bumbling humor, though it’s never quite clear when you should be laughing.
  4. Missing no stops on the road from cloying to annoying, Harlem Aria has waited more than 10 years for domestic release. Maybe its destiny has been written.
  5. At a certain point this would-be shocker suddenly jerks into high gear and becomes a blatant, incompetent rip-off of "Psycho."
  6. A cynical, clumsy, aptly titled attempt to cross the female-oriented romantic comedy with the male-oriented gross-out comedy that is interesting on several levels, none having to do with cinema.
  7. If the film were a fight, they'd have stopped it.
  8. The delicate magic of, for instance, Hayao Miyazaki's "Spirited Away," which Disney released earlier this fall, is absent from this brainless, mechanical picture.
  9. Blends the least of Woody Allen with a plot complication out of "Love, American Style," stuck together with sitcom glue.
  10. But after 15 minutes, this yellow-orange vision of spiraling circles of hell, snorting devils and demonic shapes continually morphing out of one another, begins to seem redundant and conceptually impoverished.
  11. One of those projects whose very existence should baffle anyone hardy enough to endure all 94 minutes.
  12. Boorish, bigoted and borderline pornographic.
  13. Watching it means waiting for the other shoe to drop: anticipating the moment when this already tacky weepie will resolve itself in horrific, exploitative fashion.
  14. The steady performances of Tom Wilkinson, playing a kindly priest, and Emily Watson, an angelic mother, in Alejandro Monteverde’s Little Boy do little to offset the cloying sweetness of a movie that has the haranguing inspirational tone of a marathon Sunday-school lesson.
  15. Nasty for nastiness’s sake, Kite drags to achieve its brief running time; you wonder whether the slow motion is an artistic device or a stalling tactic.
  16. [A] preposterous ensemble piece.
  17. The movie makes no sense as either melodrama or metaphysics, so that its expensive special effects go up in smoke. Literally.
  18. A soulless compilation of thrills.
  19. There are a few laughs, but I'm not sure that a comedy is supposed to make you recoil, which is what "Smoochy" does.
  20. This might not be the Titanic of romantic comedies (it’s tugboat size), but it’s a disaster: cynically made, barely directed, terribly written. But quick: there’s still time to escape!
  21. This claustrophobic mess of a movie offers only carnage.
  22. Even by the crude standards of teenage horror, Final Destination is dramatically flat.
  23. Relentlessly unpleasant film.
  24. The film's last half-hour -- or do I mean its final two weeks? -- is meant to keep the audience sniffling and sobbing uncontrollably, but the only thing likely to elicit tears is the sight of Mr. Reeves dressed in a white dinner jacket crooning "Time After Time."
  25. This is one of those sadistic exercises that puts its characters through the wringer without saying anything true or meaningful.
  26. It may be too much to ask for anything more, but, on the other hand, if you’re going to go to the trouble of pretending to blow up the White House, you might also want to pretend that something was at stake.
    • 18 Metascore
    • 20 Critic Score
    The title role is played by Ariana Savalas, daughter of Telly. She's good, but not inventive enough to rescue Miriam, which is hobbled by flatly lighted video imagery, unconvincing period details and an inclination to wallow in atrocity.
  27. So clogged with kooky gadgetry and special effects and glitter and goo that watching it feels like being gridlocked at Toys "R" Us during the Christmas rush.
  28. The Glass House is hardly insane, just absurd, and the only damage it does is to itself.
  29. The glimmers of wit and carnival humor in the “Fast & Furious” franchise are nowhere to be found in Getaway.

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