The New York Times' Scores

For 20,311 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:
20311 movie reviews
    • 69 Metascore
    • 30 Critic Score
    The film progresses by what I imagine a series of electro‐shocks to be like, but a shock treatment administered not by a therapist but by a misprogrammed computer.
  1. Sergio's urban melodrama Under Hellgate Bridge suggests the contemporary equivalent of any number of 1930's B movies.
  2. Mr. Gianvito's approach cannot really be called critical, since criticism would require some cogent analysis of causes and events.
  3. Its bone-deep willingness to do anything to entertain is exhausting.
  4. This may be the first movie that runs under two hours and yet has no attention span. Characters are abandoned and picked up; narrative threads dissolve before your very eyes.
  5. Remains a sadly earthbound thing, mired in a dismal realism that lies far from its natural environment.
  6. The best thing that can be said about Boys and Girls is that it is studiously inoffensive.
  7. Emotionally incoherent.
  8. Less interested in politics than in profitably flattering the suspicions and resentments of its intended teenage audience.
  9. The documentary doesn't get near the prowess of its subject; it passes through your life like a minor daydream.
  10. Plays every convention twice, once as parody and once by the book, but the movie, trying to be two things at once, fails at both.
  11. Perhaps the directors are under the delusion that the dodging and leaping can make up for an ending that leaves the cast members of "Killer" adrift and nearly scratching their heads in puzzlement.
  12. Such few assets aren't enough to alleviate the film's shallowness.
  13. As long on adrenaline and special effects as it is short on genuine novelty and intellectual content.
  14. By the end the most vivid figure on the screen is the lovable doggie who goes wherever dangling fingers are waiting to give the happy pooch a scratch.
  15. Feels like an early rehearsal for a play where all the movement is being coordinated but the underlying emotional notes have yet to be set.
  16. It's sad and misguided and boring.
  17. A muddled film with John Waters aspirations.
  18. Works hard at being charming, but comedy is best when it looks effortless.
  19. Seems a little too desperate to be liked.
  20. Might be described as a muddy, cliché-ridden sudsfest that lurches uncertainly between comedy and soap opera without finding its emotional or visual footing.
  21. By interweaving several stories, the movie suffers from a peculiar multiplier effect: it deepens its shallowness.
  22. Mr. Cattaneo restricts himself to the smiling blandness that has become the stock in trade of British comedies made for export, turning in a film that is forced, familiar and thoroughly condescending.
  23. Couldn't be more artless.
  24. This muddled comedy of confusion feels as if it were a Farrelly brothers' comedy that has sat exposed to the elements long past its expiration date.
  25. If you're looking for a 90-minute post-teen soap opera with pretty people, ludicrous hairpin turns and a whopper of an ending, the movie will keep you mindlessly off balance.
  26. Clearly, this is an affair to forget.
  27. Pallid compared with the flaming id of television's "Will and Grace," the happy swizzle stick Jack, who's all appetites. When series television is more entertaining than a series of short independent films, that's something to worry about.
  28. Murky, third-rate martial-arts film.
  29. Dramatically as well as visually, The Musketeer conflicts with itself by trying to blend grand old- school costume drama and MTV- style rhythm and attitude into the same movie. The juxtapositions are often preposterous.

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