The New York Times' Scores

For 20,313 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
20313 movie reviews
  1. Laborious and logy when it should be madcap and effervescent.
  2. It isn't nearly as successful a showcase for this filmmaker's extraordinary talents.
  3. It's a flimsy sentimental comedy with more product plugs and fewer laughs than might have been hoped for.
  4. The movie turns into a cobweb of tricky spins and twists that seems like a hip-hop version of "Ruthless People."
  5. Watching it is like a slow injection of a numbing anesthetic. It may send a chill to your heart, but along with it goes a warning signal to your brain not to believe a word of this hooey.
  6. What's lacking is the sense of structure that might have made Van Wilder more than a meandering succession of random gags.
  7. Artistry is not the inevitable outcome, and fluffy costumes and French location shoots are the only production elements that don't seem wholly amateurish.
  8. Like a documentary version of "Fight Club," shorn of social insight, intellectual pretension and cinematic interest. It also offers a supremely literal-minded version of slapstick.
  9. Thornton's performance is lost in a film that is more of a schematic success than a dramatic one.
  10. A movie that knows much better than to try to make sense. It is essentially a strung-together series of gags, most of them thought up by Lloyd, an inveterate practical joker.
  11. The film feels authentic only during the scenes between Valentín and his selfish, angry father.
  12. There is very little that is tantalizing or suspenseful. The feeling of revelation is gone, and many of the teasing implications of "Reloaded" have been abandoned.
  13. Would have worked brilliantly as a five-minute late-night comedy sketch, flogs its premise for nearly an hour and a half, generating too few laughs to justify the enterprise.
  14. Mr. Blake's screenplay and Mr. Costner's direction of it are, with the exception of three memorable sequences, commonplace. The film is painstakingly composed of small details of frontier and tribal life that should be riveting. Most of the time they aren't.
  15. Buried somewhere under the gross-out jokes and the wet-lipped ogling at an endless parade of jiggling bikini-clad flesh in Grind is the kernel of a cheerful little movie about the world of competitive skateboarding.
  16. Though clearly meant as a heartwarmer in the longstanding holiday tradition, the film comes off as strange and sour.
  17. This is a tiny, vulnerable, rather treacly film at heart, one that would probably float away were it not for Ms. Rue's generous presence.
  18. Comes to seem less a movie than a memory of movies -- or, at worst, a commercial Frankenstein's monster, sewn together to fill a perceived gap in the market.
  19. A high-minded, lethally dull biography of the legendary golfer Bobby Jones.
  20. The animation is done in rich, jewel-like colors, but it seems strangely flat. The overall film does, too, although the glorious Rodgers and Hammerstein music makes up for a lot.
  21. A bland, well-meaning mishmash that never coheres into a dramatic whole.
  22. While impressively made, this impassive and cold feature fails, in a spectacular fashion, to deliver the thrills.
  23. There is a grungy high spirit during the first third of this film, but then it dissipates like a mist from an aerosol can.
  24. A cream puff with a melted marshmallow inside it. As the temperature rises, the whole gooey thing starts to melt.
  25. Seems stranded in that nowhereland between irony and sarcasm.
  26. Seems held back by vestiges of an old-fashioned format that Mr. Gatlif has long since outgrown.
  27. It's neither funny nor solemn. It has the personality not of a particular movie but of a product, of something arrived at by corporate decision.
  28. Like a bottle of lukewarm Champagne -- an expensive one, judging by the label -- America's Sweethearts opens with a promising burst of effervescence and quickly goes flat.
  29. Plods along, never catching dramatic fire, sometimes suffering from amateurish acting and often relying on its intrusive and treacly music to impart mood and rhythm.
  30. Any movie that makes you root against the underdog, though, is cause for suspicion, and Mr. Smith and Mr. Montana, perhaps aware of this, try belatedly to restore Mr. Duffy's status as a victim.

Top Trailers