The New York Times' Scores

For 8,988 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Sweet Smell of Success (re-release)
Lowest review score: 0 Equilibrium
Score distribution:
8,988 movie reviews
  1. Mr. Gianvito's approach cannot really be called critical, since criticism would require some cogent analysis of causes and events.
  2. If you're looking for laughs, give "Valley of the Dolls" another read instead.
  3. The end titles and the ones that introduce Veronica Guerin...are the most informative parts of the film, and also the most powerful. What comes between them is a flat-footed, overwrought crusader-against-evil melodrama, in which Ms. Blanchett's formidable gifts as an actress are reduced to a haircut and an accent.
  4. Fitfully amusing.
  5. Eventually becomes preaching that is likely to tax the credibility of the unconverted.
  6. A film worthy neither of Mr. Keaton's talents nor even a desperate horror fan's attention.
  7. Memo to Shaquille O'Neal: Don't give up your night job.
  8. The team that gave the world "Dumb and Dumber" returns with something feeble and feebler.
  9. The filmmakers are smart enough to keep the monster out of sight for a long time and then to show only glimpses, but a similar tactic of providing only glimpses of plot and character is disastrous.
  10. As directed by Barry Levinson and acted by an incredible collection of male stars, Sleepers settles the authenticity question by allowing not a whiff of real life into its universe.
  11. An astonishingly lazy and perfunctory effort that does little to realize his (Carrey) comic potential.
  12. Finally it becomes clear that Mr. Corley's film is meant to be a tribute to the love of theater. It has just been posing as the story of one man's finding himself.
  13. Doesn't deliver.
  14. It's not bad enough to make you curse, but you are likely to laugh when you should scream, and to roll your eyes when you are meant to laugh.
  15. Nearly every one of the film's emotional scenes is too predictable to hit its mark, but Mr. Jones's dry delivery has its moments.
  16. A tediously didactic, often condescendingly reductive 10-part lesson on cinema.
  17. Despite Mr. Nakata's track record and the radiant presence of its star, Naomi Watts, The Ring Two is a dud.
  18. Think of it as a modern-day variant on a Shakespearean comedy, only without the verbal felicity or dramatic structure.
  19. The human landscape of Palindromes is a vista of grotesqueness, dishonesty and creepiness. These are qualities Mr. Solondz has explored before, but this time he fails to make them interesting, partly because he lets himself and the audience off the hook.
  20. The law of averages demands that every once in a while a movie must come along starring young nonprofessional actors who aren't very good. That's unfortunately the case in 15.
  21. The burden of the story, which is maudlin and entirely unbelievable, weighs down even the more credible performances.
  22. 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.
  23. Not a shred of suspense enlivens the proceedings, and the movie's idea of humor is having a man slip and slide on a floor covered in blood.
  24. A most unfortunate film that combines standard documentary techniques, including talking-head interviews, with some maladroit dramatizations from Aury's life and her novel.
  25. Really, it's all as funny as a hernia.
  26. With its heavy symbolism and awkward, lurching pace, A Hole in One leaves viewers with little more than the vague conviction - which I think I already had going in - that falling in love is better than an ice pick to the brain.
  27. Softer, louder and cleaner than the 1974 version, the new film sentimentalizes the prisoners and the game, filing down their sharpest edges so that winning becomes a matter of triumph rather than resistance.
  28. The film is a labor of love for Casper Andreas, who wrote, directed and starred in this first feature. For the actors he has chosen, it's a labor of lust, with copious necking and grappling required. For the audience, it's just a labor.
  29. May be the opposite of trash, but it is something just as disposable: dead literary meat. Dragged down by a stuffy screenplay clotted with generic period oratory, overdressed to the point that the actors seem physically impeded by their ornate costumes, and hopelessly muddled in its storytelling, the movie is edited with a haphazardness that leaves many dots unconnected.
  30. That "The Keeper" was made by a novice is evident in the visible seams between the present-day narrative and the flashbacks; the whole thing plays like a loopy amalgam of stilted costume picture and after-school special.

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