The New York Times' Scores

For 10,633 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 Taxidermia
Lowest review score: 0 Bio-Dome
Score distribution:
10633 movie reviews
  1. 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.
  2. One reason Chander Pahar seems so plodding is that Mr. Mukherjee has a habit of telling us what he doesn’t know how to show.
  3. Pushes its ugly humor further than most.
  4. For the most part it is an uninteresting slog alleviated only by the occasional unintended laugh and moments of visual beauty. Mr. Shyamalan generally torpedoes his movies with overweening self-seriousness.
  5. It's one of the rare films for which a blooper reel would be redundant.
  6. The cramped first half, mostly in the Singh apartment, is crudely unfunny.
  7. The horror anthology has a long tradition, going at least as far back as the British classic “Dead of Night,” in 1945. The best offer surprise endings or a sense of humor. You won’t receive much of either here. Just vertigo and maybe a wicked case of induced attention deficit disorder.
  8. It might have been a satisfying if not terribly original piece of historical melodrama, but its clumsiness turns it, against its best intentions, into half-baked operatic kitsch.
  9. This dissociation leaves the supporting cast to its own devices, with no one suffering more than the appealing Eva Mendes as Johnny's true love, Roxanne. If Ms. Mendes ever finds a director willing to allow her to perform with her shirts fully buttoned, there will be no stopping her.
  10. Zoolander 2 has enough plots for several movies. They are so jammed together that they more or less cancel each other out.
  11. The storytelling is infuriatingly coy, as if Mr. Haggis were trying to fool you (and himself) into thinking that he has something to say. Third Person finds Mr. Haggis, like Mr. Neeson’s screen alter ego, running on empty.
  12. The plot of Michael Grais's and Mark Victor's screenplay is even more nonsensical than it needs to be. [11 Jul 1992]
    • The New York Times
  13. Slow-motion knockouts follow, with Mr. Statham as sure-fisted as ever, but the “Expendables” director Simon West can only summon dead air in between. Mr. Goldman’s slightly offbeat underworld is not very convincing, and Mr. Statham’s thick voice and inexpressive acting suggest brain fog rather than gritty blues.
  14. The dour McCanick banks way too much on what it is not telling us, making for a movie that thinks it’s being cryptically suspenseful but is really just annoying.
  15. Lazy would-be horror film.
  16. Tacky and disposable.
  17. Feeding over-the-top language to underdeveloped characters, Deon Taylor’s Supremacy dramatizes racism with an unvarying intensity that quickly becomes wearing.
  18. Muddled, pretentious assemblage of film clips of the band shot between 1966 and 1971.
  19. Mr. Farina gives Authors Anonymous a sharpness it otherwise lacks.
  20. 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.
  21. 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?
  22. 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?
  23. 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.
  24. 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.
  25. 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.
  26. I don't know how much The Score cost, but it's pretty close to worthless.
  27. Two ridiculous blood-soaked hours.
  28. It fails to deliver a thrill — not even a shiver, except of revulsion — rendering all that slasher gore downright anemic.
  29. The sloppy, absent-minded Premonition is a giant step backward for Ms. Bullock.
  30. 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.

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