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. The movie is smart in small ways, yet an underachiever in big ones -- but it will probably play very well on television. On the big screen, it's distended and diffuse.
  2. Among this year's bumper crop of shallow teen-age movies, it is the shallowest and the most prurient.
  3. As a female vocal duo, their performances are passable, if a little dull and lacking in any sense of camp exaggeration.
  4. Ultimately, the coiffure competition serves as a gaudy, cheerful distraction from a plot that becomes plodding and a sister act that makes you wish for some peacekeeping brothers.
  5. This movie feels phony and slick, as if it were cooked up by Darrin's cynical ad agency, rather than at his aunt's stove down in Montecarlo.
  6. A jewel-heist frolic so stale it feels like a retread of a retread.
  7. Given that movies can now show us everything, the manifestations that Ms. Rowling described could be less magical only if they were delivered at a news conference.
  8. As the film veers uncertainly between meticulous historical recapitulation and shameless hokum, it brings enough characters to populate a mini-series. When the historical details become too clogged, the movie shamelessly overcompensates by wallowing in cheap sentimentality.
  9. In both Twist and "Idaho," the act of placing a larger-than-life literary figure in a constrained, narrowly naturalistic environment merely strips the characters of their scale and interest.
  10. Achieves only loudness, aggressive confusion and one of the silliest head-splittings in film history.
  11. Anyway, you will be glad that they have found each other, and eager to wish them a long and happy life together -- somewhere else, as 95 minutes in their company is plenty.
  12. The film's ridiculousness would not be so irksome if Mr. Shyamalan did not take his sleight of hand so seriously, if he did not insist on dressing this scary, silly, moderately clever fairy tale in a somber cloak of allegory.
  13. With its flashbacks, split-screen montages, decade-jumping soundtrack, sped-up action and frequent shifts of light and color, Wonderland feels like "Law & Order" on crack.
  14. Not a terrible movie, just an insubstantial one. All of DiCaprio's charisma and the director's savvy are used to divert us from the fact that there's not much going on.
  15. A bad-taste comedy with a heart.
  16. Although the opening scene suggests a dark urban satire, Blade quickly turns into a cartoonish futuristic action-adventure yarn in which Blade is the only thing keeping humanity from being exterminated by vampires in a hematological holocaust.
  17. The movie aspires toward a solemnity that Dana Stevens's prosaic psychobabbling screenplay cannot support. The movie is so busy being seriously romantic that it forgets the poetry, the whimsy, the airy mystery, the dreamy what-if of angelic contemplation.
  18. Dreamy touches can't compensate for the film's main flaw, which is that the relationship between the two main characters never really develops.
  19. Loud, frantic, ridiculously overproduced and featuring a preening performance by Val Kilmer as a supposedly brilliant master of disguise, The Saint is sheer overkill.
  20. This time, though, Mr. Lynch's conceits are less often pleasurably disorienting than out of focus.
  21. It does achieve a certain claustrophobic fascination, but never gets around to making its point.
  22. On its own, apart from whatever beliefs a viewer might bring to it, The Passion of the Christ never provides a clear sense of what all of this bloodshed was for, an inconclusiveness that is Mr. Gibson's most serious artistic failure.
  23. A nonstop underscore of Latin pop, as well as several arbitrarily interpolated dream sequences and animated passages don't do nearly enough to make up for the film's unfocused frenzy and lack of genuine comic invention.
  24. Because there is a new hero to identify with every 10 minutes, the viewer isn't drawn into a sustained suspense, but is merely subjected to a series of more or less foreseeable shocks.
  25. More abrasively quirky than a lesser Bjork B-side, though the hideous monster who co-stars hails from Iceland, too.
  26. Well-meaning and hopelessly bland, You'll Get Over It, instantly drops into the tone of didactic realism that rules most television fiction, drawing easy moral lessons from a scrubbed-up simulacrum of everyday, middle-class life.
  27. Slick and treacherous.
  28. The hokey solemnity of A Love Song for Bobby Long suggests "The Mundane Secrets of the Ya-Ya Brotherhood" or "The Notebook Goes to the Big Easy." The movie is another example of Hollywood's going soft and squishy when it goes South.
  29. Will probably keep its core audience of suburban teenagers mildly entertained for the course of its 93 minutes. Urban grumps, however, may be distracted by Mr. Stokes's annoyingly overedited execution of the dance sequences.
  30. Mildly amusing but wholly unnecessary comedy.

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