The New York Times' Scores

For 9,703 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 The Hours
Lowest review score: 0 If One Thing Matters: A Film About Wolfgang Tillmans
Score distribution:
9,703 movie reviews
  1. 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.
  2. So why? Why would stars of the magnitude of Mr. Cage and Ms. Kidman sign on to a project whose screenplay is so inept that the movie, even if profitable, will stand as a career-impeding setback? Can't they read?
  3. Some of this seems like stoner’s paranoia, and some of the film’s talking heads, mainly comedians, don’t make the best advocates. Over all, though, its experts... argue forcefully for decriminalization.
  4. Newlyweds are slaughtered, a child kidnapped and a suicide bombing foiled, all of it advanced by chunks of clumsy dialogue and embarrassingly labored acting.
  5. A mawkish drama hobbled by a thoroughly unpleasant and uncharismatic lead performance.
  6. Underdog may have been originally created to sell cereal for General Mills, but this latest incarnation couldn't sell Frisbees at a dog park.
  7. Like most of Mr. Ferrara's films, The Blackout takes place in a trance state -- events are fuzzy, line readings even fuzzier. There are mysterious ellipses in the plotline and lots of droning electric guitar work on the soundtrack.
  8. Knock Off runs breathlessly over land and water in familiar comic book fashion, offering more action than sense and next to nothing in the way of suspense, humor or romance.
  9. The obvious forerunner of My Wife Maurice, is "La Cage aux Folles," a movie that is several cuts above this frantically overwrought imitator.
  10. 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.
  11. This might have made a good children’s film.
  12. The movie plays like a made-for-television quickie.
  13. 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.
  14. P2
    Swift and stealthy P2 is a canny exploitation of one of the urban woman’s greatest fears: the after-hours parking garage. Throw in a car that won’t start, a creepy security guard and a filmmaking team with perfect synchronicity, and the result is a minimalist nightmare.
  15. There are interesting ideas here, but they are swallowed up in dull, poorly choreographed shootouts and other action nonsense.
  16. A rude, rollicking and exceedingly raunchy attempt to turn "American Pie" into "American Quiche."
  17. Neither performer upstages the other, but the admirable film is weakened by timidity or a lack of skill.
  18. The film, a comedy without much comedy in it... clumsily tries to merge road trip humor and beauty pageant parody.
  19. Full of indie mannerisms - compulsive swearing, jokey violence, quirk-laden characters - Flypaper can't quite manage to find a style or a comic groove of its own.
  20. A trashily entertaining reptilian version of ''Jaws'' set in the steaming heart of the Amazon rain forest.
  21. What should be rousing stuff - a republic is born! the chains of feudalism thrown off! - remains a kind of lavishly illustrated history lesson. Even the irrepressible Mr. Chan (this is his 100th film) seems subdued.
  22. Plagued by clunky action sequences and a porous plot the cast visibly wilts.
  23. Taking a credibility-straining premise and running with it, the Dutch director Arne Toonen gives Black Out way more energy than sense. Luckily, his antihero, Jos (Raymond Thiry), lacks neither.
  24. This dumb, only intermittently (though sometimes even intentionally) funny sequel presumes that since almost everything else from the 1980's has come back, why not the cynosures of the "Nightmare on Elm Street" and "Friday the 13th" movies?
  25. Like the characters, the scenes pile up but go nowhere; the story seems fragmented, the actors unmotivated, unmoored. Mr. Gray has a feel for pulp, but is seriously off his game here.
  26. This witless installment features the usual ultra-slow-motion mayhem and helpful freeze-frames to allow us to admire the extra dimension. Fans will not be happy, however, to learn that Ms. Jovovich is more decently clothed this time around.
  27. The film is more of a pageant than a convincing drama. It’s so determined to deliver its moral that it loses its grip on the reality of its characters.
  28. The whole film is a celebration of messy, colorful, vigorous creativity, echoed in Cynthia Charette's gloriously cluttered hodgepodge production design, with barely a product placement in sight.
  29. Son of God may have hit the mark if part of the goal was to create a portrait flat enough to allow audience members to project their own feelings onto the screen.
  30. Jolie never ignites, and neither does the movie. Mr. Depp doesn't fare better with a role that forces him to play meek and disappointingly mild, despite a few screenwriter-supplied tics.

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