The New York Times' Scores

For 10,622 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Ransom
Lowest review score: 0 Hemingway's Garden of Eden
Score distribution:
10622 movie reviews
  1. "Hee Haw” meets “Pulp Fiction” at the meth lab: That describes the style of Pawn Shop Chronicles, a hillbilly grindhouse yawp of a movie that belches in your face and leaves a sour stink.
  2. Oblivion never transcends its inspirations to become anything other than a thin copy.
  3. Quickly collapses into an overloaded, slow-moving series of predictable jokes and forced situations.
  4. Despite Mr. Nakata's track record and the radiant presence of its star, Naomi Watts, The Ring Two is a dud.
  5. A bit too true to a frugal indie philosophy, where winging it beats reshooting, the film gets more woolly and unfocused; many scenes feel improvised and only occasionally hit their marks.
  6. Too busy with limb-severings and gunfire to bother being intelligent.
  7. Affirms that soft-core porn is alive and well in cyberpunk.
  8. Even fans of open-wheel racing, the high-speed, high-stress pastime that is the subject of Renny Harlin's hectic new film, may walk away from it more logy than exhilarated.
  9. This soulless, sterile romantic comedy has slipped under the wire to give audiences a headache and Matt LeBlanc’s reputation a relapse.
  10. Evokes a mood of tenderness. Beyond that, it is a weightless, sentimental and intellectually lazy effort from an independent filmmaker whose movies seem increasingly insubstantial.
  11. But for all its provocation, Kedma is an often dull, incoherent film, and its characters remain frustratingly sketchy
  12. One of the good things about bad movies is that when someone sneers about the unworthiness of a perfectly mediocre film like, say, "Crash," you can turn to a seriously unworthy film like, say, The Santa Clause 3: The Escape Clause and laugh. Ho. Ho. Ho.
  13. The movie lurches from the improbably silly to the drearily so, while the characters remain so emotionally and psychologically divorced from life that they might as well be zombies or sitcom stick figures.
  14. It’s not worthless, but it’s not good. As a genre film, it’s too ambitious; as an art film, it’s too obvious.
  15. [A] disposable comedy.
  16. The results, to judge from the examples here, have been stuffy and disappointing, an unholy alliance between Playboy Channel prurience and PBS cultural alibis.
  17. The film, which opens today at the Sutton and other theaters, is composed of a prologue, written for the movie, plus four separate stories, each of them either based directly on a script from the television series or suggested by one. A lot of money and several lives might have been saved if the producers had just rereleased the original programs.
  18. Expelled is an unprincipled propaganda piece that insults believers and nonbelievers alike.
  19. It's another example of the ever-widening gap between the real world and the fantasies of a kind of artistic temperament more concerned with random self expression than with the expression of coherent feelings or ideas about love, alienation, outrage, politics or even of movie-making. It shrivels the imagination instead of enriching it. [7 Oct. 1981]
  20. Riddled with holes and undeveloped characters, and marred by lurching rhythms that may reflect some triage editing, so it's hard to see what Mr. Hafstrom brings to this film other than a murky palette.
  21. The Sarah character isn’t developed well enough to make her journey enlightening or involving.
  22. Though Mr. Grint and Mr. Perlman both come off credibly, the movie is practically laugh-free.
  23. It isn't saying much, but at least her (Carey) work here is more substantial than in the catastrophic "Glitter."
  24. This one is well photographed, yet it’s still just a lot of cars and noise.
  25. When it comes to film plotting, too many twists just result in an annoying tangle. And there are too many twists in Antoni Stutz’s uninvolving Rushlights.
  26. In the end, it taketh — your time, patience and faith in newly imagined dystopias — more than it giveth.
  27. The movie has been thoroughly eclipsed by "Captivity" the marketing.
  28. The film never finds its dramatic footing. Nor, sadly, its common sense.
  29. A most unfortunate film that combines standard documentary techniques, including talking-head interviews, with some maladroit dramatizations from Aury's life and her novel.
  30. The movie is apparently the most popular British comedy in history. I guarantee that its success has nothing to do with the quality of the actual movie.

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