The New York Times' Scores

For 9,712 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 Synecdoche, New York
Lowest review score: 0 State Property
Score distribution:
9,712 movie reviews
  1. Yes
    Yes is not just a movie, in other words, it's a poem. A bad poem. There is no denying Ms. Potter's skill at versifying - or for that matter, at composing clear, striking visual images - but her intricate, measured lines amount to doggerel, not art.
  2. Wildly overproduced and filled with fussy flourishes that make even a derelict hallway look like a million bucks, Dark Water fails to rustle up either meaning or meaningful scares.
  3. Most of this is old news. And the filmmakers never make a coherent case, at least not to the layperson. As a result, the film, which runs about 90 minutes, seems painfully long.
  4. Meant to be funny, but it only swells the sinus passages. It is a painfully inept comedy.
  5. Proving once again that skillful performances can't create something out of almost nothing - the best they can do is make it palatable.
  6. What's interesting about Stealth isn't its nitwit story... No, what's interesting about this movie - and many others of its kind - is that it continues the love affair Hollywood, that hotbed of liberalism, has long had with militarism.
  7. This crude, inspirational tear-jerker is as sweet as a bowl of instant oatmeal smothered in molasses. It should please those who honestly believe that Santa Claus and God are synonymous; others may retch.
  8. There is an essential meanness to the entire project, tapping the manipulative power of taunts. Such jokes don't jibe with the times, the culture.
  9. A tedious World War II epic that slogs across the screen like a forced march in quicksand.
  10. Though filled with romantic contrivances and overlong musical numbers, Undiscovered is curiously lifeless. Bland actors portray single-cell characters in a plot scarcely more diverting than Ms. Simpson's reality vehicle, "The Ashlee Simpson Show."
  11. Solemn, sentimental bore of a movie that suffocates in its own predictability and watered-down psychobabble.
  12. Neither funny nor sexy, nor leavened by the wistful laissez-faire wisdom of the typical sophisticated Gallic comedy, it is less than a trifle.
  13. Even if it ends on a hopeful note, this is a feel-bad movie that leaves a bitter aftertaste.
  14. For all its experimental intentions, Loudmouth Soup feels familiar: a claustrophobic Hollywood satire that's short on kinesis and long on conversation.
  15. Marc Forster takes a maximalist approach to this mumbo jumbo, which means that in addition to lots of wacky angles, shiny surfaces, seemingly endless stairs, and sets of twins, triplets and quadruplets, he deploys the unsettling vision of three talented actors - Ewan McGregor, Naomi Watts and Ryan Gosling - straining credulity and neck tendons in the service of serious claptrap.
  16. A hectic, uninspired pastiche of catchphrases and clich├ęs, with very little wit, inspiration or originality to bring its frantically moving images to genuine life.
  17. 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.
  18. There is very little fun in The Ice Harvest, which wouldn't pose a problem if the film had some fleshed-out ideas to go along with the booze, the booty and the recycled plot points.
  19. Overcompensates for its sloppiness with loud, knockabout farce.
  20. Good intentions do not guarantee good movies, or even watchable ones. A sad case in point is The Kid and I.
  21. This kind of thing might tickle a drunk, way off Broadway audience, but on screen it merely shows the futility of following in the faux-silent footsteps of the director Guy Maddin.
  22. This messy blend of silly slapstick and oversentimentality probably won't please children, teenagers or adults.
  23. Less sassy than shrill, more crass than clever, the maiden cartoon from the Weinstein Company turns the Little Red Riding Hood legend into a sub- "Shrek" bummer that appears to have been manufactured for the pleasure of tone-deaf kids with a thing for sarcasm, extreme sports, and Andy Dick.
  24. I suppose Rumor Has It could be worse, though at the moment I'm at a loss to say just how.
  25. As witless as it is formulaic.
  26. The fascist undercurrents of this battle remain unexplored. Maybe one day, Hollywood will figure out that pouring acting-challenged starlets into black neoprene and sticking them in front of a blue screen do not a movie make. We can but hope.
  27. Film Geek has a likable premise, an unusual setting in downtown Portland, Ore., and a pleasantly homemade indie feel. Unfortunately, Scotty Pelk, as written by James Westby and played by Mr. Malkasian, is actually so irritating, so genuinely hard to take, that like the rest of the characters in this semiautobiographical movie, we soon find ourselves itching to get away from him.
  28. Annapolis has enough material for an exciting trailer. But that's all the movie really is: a trailer tricked out with protracted boxing sequences and an undernourished romantic subplot that culminates in a single tepid kiss.
  29. Written and directed with overwhelming earnestness by Debra Kirschner, The Tollbooth can't overcome Sarabeth's self-involved narration and insipid personality.
  30. Instead, Mr. Carrey turns up in a sloppy second Ace Ventura film that's little more than an echo of the first. A two-minute trailer wouldn't miss many of its highlights.

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