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
  1. Quickly collapses into an overloaded, slow-moving series of predictable jokes and forced situations.
  2. Only adds to the sense that Mr. Konchalovsky has lost his artistic moorings. He has certainly lost his common sense.
  3. The emotional impact of Shark Skin Man is negligible.
  4. This poorly acted, ramshackle tour of the lower echelons of the Los Angeles rock scene has the feel of a largely improvised home movie filmed without retakes, and its sense of humor could only be fully appreciated by struggling musicians.
  5. Some kind of equality has been achieved when it is impossible to distinguish heterosexual clichés from homosexual ones.
  6. Admirably high-minded and visually gorgeous but fatally anesthetized by its own grandiosity.
  7. As the film loses its grip on its multiple stories, the title begins to suggest an overheated stew bubbling out of its pot. By the end of the film, the intersecting dramas and histrionic performances have spilled all over the floor, so to speak.
  8. Flagrantly old-fashioned, triple-hankie tear-jerker.
  9. It's an oddity that will be avoided by millions of people, this new Pinocchio. Osama bin Laden could attend a showing in Times Square and be confident of remaining hidden.
  10. This picture is mostly a lump of run-of-the-mill profanity sprinkled with a few remarks so geared toward engendering audience sympathy that you might think he was running for office -- or trying to win over a probation officer.
  11. A leaden, skimpily plotted space-age Outward Bound adventure with vague allegorical aspirations that remain entirely unrealized.
  12. A shallow yet empty action extravaganza.
  13. Advance word of mouth has suggested that Ms. Basinger...turns in a performance comparable to Meryl Streep's in "Out of Africa." Would that it were so. Ms. Basinger certainly works hard at her role.
  14. Wants to be everything and adds up to nothing. "War" is a film that tries to excel on several levels and falls flat on all of them.
  15. Breezing along on gusts of stale air and perky inanities, Two Weeks Notice is a romantic comedy so vague and sadly undernourished that it makes one of Nora Ephron's low-cal strawberry sodas seem as tempting as a Philip Barry feast.
  16. The movie works so diligently to convey a spirit of heroic uplift and fails so completely that it feels like a tragic misfire.
  17. May have had the unintended effect of obscuring the original it meant to honor.
  18. Disappointingly shallow and not terribly funny romantic comedy.
  19. Bland, unrevealing.
  20. A slapdash, poorly acted, paint-by-numbers teen horror comedy, the sequel is too frenetically edited to build any suspense, and its special effects are strictly bargain basement.
  21. A chilly machine-tooled comedy.
  22. It has the melancholy mildew of both "Marty" and the 1940's weepie "The Enchanted Cottage."
  23. Mr. Jones, who recently starred in "Zig-Zag," a similarly striving, overwrought picture, is a disciplined and likable performer, and he bravely perseveres in the face of narrative absurdity and rampant overacting.
  24. This movie, a chaotic caper film at heart, wrecks its comic tone with some moments of gruesome violence.
  25. Loses its way in rhetorical excess and blatant sentimentality.
  26. In the end the elaborate gimmickry of Inspector Gadget cannot conceal its very ordinary storytelling.
  27. Appears to be a somewhat sinister episode of "Nightline."
  28. Should soon join Mr. Greenaway's last few efforts in obscurity.
  29. The screenplay never begins to finds a workable balance between wit and adventure. And the performances in several smaller roles are so mechanical that they lend Kill Me Later the tone of a vanity production.
  30. The very confusion that has made him (Rock) so unpredictable and funny onstage makes this on-screen exploration of contemporary racial mythologies curiously tentative and unfocused.

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