The New York Times' Scores

For 10,125 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 Who Framed Roger Rabbit
Lowest review score: 0 Hush
Score distribution:
10,125 movie reviews
  1. Feeding over-the-top language to underdeveloped characters, Deon Taylor’s Supremacy dramatizes racism with an unvarying intensity that quickly becomes wearing.
  2. Muddled, pretentious assemblage of film clips of the band shot between 1966 and 1971.
  3. Mr. Farina gives Authors Anonymous a sharpness it otherwise lacks.
  4. A lackadaisical dive into backwoods barminess and masculine neuroses, this low-budget paean to indoor plumbing and rampant facial hair doesn't unfold so much as unravel.
  5. There’s probably more wit and pointed social commentary in the average four-minute OutKast song than in the entirety of Who’s Your Caddy?
  6. The real question raised by The United States of Leland is not why, but how. How, that is, did so many talented actors find their way to this dreary and derivative study in suburban dysfunction?
  7. Exists in a realm beyond sense, and induces in the viewer a trancelike state, leaving the mind free to ponder the mysteries of the universe.
  8. It's an oddity that will be avoided by millions of people, this new Pinocchio. Osama bin Laden could attend a showing in Times Square and be confident of remaining hidden.
  9. Grisly but not especially suspenseful, tongue-in-cheek without any real wit, The Voices aims to hit the intersection of horror and comedy but tumbles into an uncanny valley of tedious creepiness.
  10. I don't know how much The Score cost, but it's pretty close to worthless.
  11. Two ridiculous blood-soaked hours.
  12. The sloppy, absent-minded Premonition is a giant step backward for Ms. Bullock.
  13. Mr. Piccirillo's direction reflects a basic knowledge of stagecraft but no discernable sense of filmmaking. The dull television-style close-ups march relentlessly across the screen, leaving only the ghostly trails of badly transferred video images behind.
  14. Seems a little too desperate to be liked.
  15. Might be described as a muddy, cliché-ridden sudsfest that lurches uncertainly between comedy and soap opera without finding its emotional or visual footing.
    • 53 Metascore
    • 30 Critic Score
    The performers have little to do besides spill and drink blood in this tedious, inconsequential B picture. The sun doesn’t rise nearly fast enough.
  16. Marlon Wayans’s satire “A Haunted House” got to “Paranormal” first, and for a much smaller budget delivered bigger laughs.
  17. Its indictment of capitalism is so shrill and one-note that it may just as easily set off fits of giggling, because its characters are so ridiculously evil.
  18. At least Mr. De Niro, who disappears from the movie until the end, seems to be enjoying himself. The force of his bonhomie gives this murky-looking, empty conceit of a film a desperately needed lift of facetious humor.
  19. This messy blend of silly slapstick and oversentimentality probably won't please children, teenagers or adults.
  20. The hand-me-down showiness and sluggish storytelling by the director, Paco Cabezas, underline the monotony in this ordinary revenge thriller.
  21. The film is nothing if not liberal with its bloodletting, which integrates cleverly at times with the 3-D: lopped fingers, for example, fly toward the audience. But personalities and plot are thumbnail sketches at best.
  22. Credibility, of course, wouldn't matter if the gags were good enough, which they are not. The film quickly falls back on the gross-out jokes that have made recent American comedies such a challenge to the digestive tract.
  23. Not even a dewy heroine and a youth-friendly vibe can disguise the essential ugliness at its core: like the bloodied placards brandished by demonstrators outside women's health clinics, the film communicates in the language of guilt and fear.
  24. Sergio's urban melodrama Under Hellgate Bridge suggests the contemporary equivalent of any number of 1930's B movies.
  25. Screaming "vanity project" from every hackneyed frame, Drawing With Chalk is yet another example of midlife American males doing all they can to avoid acting their age.
  26. The campy new screen adaptation of The Three Musketeers has all the reality and visceral excitement of a $75 million literary theme park dotted with fancy villages heavily patrolled by security.
  27. Some obvious comparables for Skyline are "Independence Day" and Steven Spielberg's "War of the Worlds," but there is nothing here that even approaches the comic-book verve of the first or the churning dread of the second.
  28. It's meant as a tiny bit of praise to say that the movie, which was made in southern California, looks as if it had been shot in Spain or Yugoslavia. It looks both big and cheap.
  29. The real problem here, though, is that noting the it's-all-about-me nature of modern life already feels like a point that no longer needs making. Yeah, we're self-absorbed and shallow; so what else is new?

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