The New York Times' Scores

For 12,236 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 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Jafar Panahi's Taxi
Lowest review score: 0 You Again
Score distribution:
12236 movie reviews
  1. Certainly, the senselessness of bloodshed may be Mr. Power’s point. But with this setup, such a message is all but muted.
  2. Reviewing Lemon feels like taking a sucker’s bet, treating the film with a reverence it never even asks for.
  3. Silver Bullets neither pleases the eye nor stimulates the mind.
  4. Cocaine Cowboys is a tabloid headline, a movie as oppressive and inarticulate as the lives it represents.
  5. The picture is a bland procession of loosely framed close-ups, which serve only to underline the amateurish performances.
  6. The eventual video game is bound to be a lot more fun -- and less slowed down by bad dialogue -- than this "Dead."
  7. There’s more flab than muscle packed on this galumphing franchise reboot, which, as it lumbers from scene to scene, reminds you of what a great action god Steven Spielberg is. Too bad he didn’t take the reins on this.
  8. James Cameron upstages the ocean in Deepsea Challenge 3D, a shallow vanity project that invites us to join him in marveling at his own daring.
  9. 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.
  10. 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.
  11. During the ensuing narrative unpleasantness and visual incoherence (meaningless choker close-ups, pointless slow motion), Hayley subjects Jeff to a range of torture, all in the name of, well, what? Despite the two fine performances, it's hard to say.
  12. Wrong lets most of its random gags and view-askew premises twist in the wind like hamhandedly wacky improv comedy, punctuated with synthesizer effects. The film’s misguided flatness is perhaps its fatal flaw, not so much deadpan or existential as just monotonous.
  13. The product - sloppy even by guerrilla filmmaking standards - has no revelations to offer that are worth the slog of watching it.
  14. The best things in the production are the garishly absurd sets. The costumes, including the gold lame athletic supporters worn by the members of Ming's palace guard, suggest an adolescent's fever dream. The pacing is so funereal that this Flash Gordon seems far longer and far less funny that the 15-chapter serial, Flash Gordon's Trip to Mars (1938), which starred Buster Crabbe. [05 Dec 1980, p.C8]
    • The New York Times
  15. For a movie premised on unrelenting action, Crank proves fatally turgid.
  16. The movie lurches from the improbably silly to the drearily so, while the characters remain so emotionally and psychologically divorced from life that they might as well be zombies or sitcom stick figures.
  17. The Thing is too phony looking to be disgusting. It qualifies only as instant junk.
  18. Filmed in Rwanda, Shake Hands With the Devil is certainly panoramic. But the best that can be said of the film is that it is an honorable dud.
  19. Despite its sociological tidbits and flashes of musical vitality, Saudade do Futuro never goes anywhere.
  20. You may not believe it's possible to bore people to death with a film about risking your life, but The Wildest Dream comes shockingly close.
  21. It’s dragged down by non-scene after non-scene, and filmmaking choices that don’t earn their keep.
  22. An astonishingly lazy and perfunctory effort that does little to realize his (Carrey) comic potential.
  23. Try as it might to be refined and provocative, Perfume: The Story of a Murderer never rises above the pedestrian creepiness of its conceit.
  24. Unlike such forerunners as “Clueless” and “Mean Girls,” however, this movie, doesn’t have a believable moment in it.
  25. This superficial movie plays like a fashion shoot with robes.
  26. What is harder to comprehend is how Mr. Clooney turned out such a sloppy, haphazard and tonally incoherent piece of work. Leatherheads lurches hectically between Coen brothers-style pastiche and John Saylesian didacticism, while Mr. Clooney works his brow and his jaw and waits in vain for his charm to kick in and save the day.
  27. By interweaving several stories, the movie suffers from a peculiar multiplier effect: it deepens its shallowness.
  28. The only thing missing is a coherent story -- or even, for that matter, an interesting idea for one.
  29. In his director’s statement, Mr. Perez, who also wrote the script, says he sought to fashion a story “that would confuse and bludgeon the audience.” My comrade and I will sip, silently nod and, with a strange kind of awe, agree: This filmmaker succeeded.
  30. In films like Quick Change, he is bogged down by scripts that don't begin to match his comic imagination. Even though he chose and developed Quick Change himself, Bill Murray deserves better than this clunky, stereotypical comedy.

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