The New York Times' Scores

For 11,492 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% 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 Test
Lowest review score: 0 Happiness Runs
Score distribution:
11492 movie reviews
  1. Lazy would-be horror film.
  2. Tacky and disposable.
  3. Feeding over-the-top language to underdeveloped characters, Deon Taylor’s Supremacy dramatizes racism with an unvarying intensity that quickly becomes wearing.
  4. Muddled, pretentious assemblage of film clips of the band shot between 1966 and 1971.
  5. Mr. Farina gives Authors Anonymous a sharpness it otherwise lacks.
  6. Dated, despondent and pretty much a disaster, Cell plays like a series of nods to other science fiction-horror hybrids, notably “The Matrix” (1999) and Philip Kaufman’s 1978 remake of “Invasion of the Body Snatchers.”
  7. 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.
  8. 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?
  9. 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?
  10. 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.
  11. 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.
  12. 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.
  13. I don't know how much The Score cost, but it's pretty close to worthless.
  14. Two ridiculous blood-soaked hours.
  15. It fails to deliver a thrill — not even a shiver, except of revulsion — rendering all that slasher gore downright anemic.
  16. The sloppy, absent-minded Premonition is a giant step backward for Ms. Bullock.
  17. 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.
  18. Seems a little too desperate to be liked.
  19. 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.
  20. Marlon Wayans’s satire “A Haunted House” got to “Paranormal” first, and for a much smaller budget delivered bigger laughs.
  21. Sad to say: There is far more crackle in an average episode of “Law & Order.”
  22. 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.
  23. 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.
  24. This messy blend of silly slapstick and oversentimentality probably won't please children, teenagers or adults.
  25. The hand-me-down showiness and sluggish storytelling by the director, Paco Cabezas, underline the monotony in this ordinary revenge thriller.
  26. 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.
  27. 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.
  28. 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.
  29. Sergio's urban melodrama Under Hellgate Bridge suggests the contemporary equivalent of any number of 1930's B movies.

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