The New York Times' Scores

For 20,278 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:
20278 movie reviews
  1. Putrid comic stew.
  2. Viewer discretion is advised, if only because it's well-nigh unwatchable.
    • 25 Metascore
    • 0 Critic Score
    The maudlin, grotesque western September Dawn, about the massacre on Sept. 11, 1857, of about 120 settlers by Mormons (and their Paiute Indian mercenaries), apes "Schindler’s List" in hopes of creating a Christian Holocaust picture.
  3. A worthless piece of garbage.
  4. A relentlessly ugly, unpleasant, often incoherent assault on the senses from Brazil.
  5. Custom designed for its smirking star (who is also an executive producer), this tasteless train wreck asks only that she preen and prance on cue.
  6. The Love Guru is downright antifunny, an experience that makes you wonder if you will ever laugh again.
  7. The crushingly unfunny and slopped-together How to Lose Friends & Alienate People has neither the ambition nor the intelligence to do justice to its source material.
  8. See the Holocaust trivialized, glossed over, kitsched up, commercially exploited and hijacked for a tragedy about a Nazi family. Better yet and in all sincerity: don't.
  9. The most transcendently, eye-poppingly, call-your-friend-ranting-in-the-middle-of-the-night-just-to-go-over-it-one-more-time crazily awful motion pictures ever made.
  10. A nasty exploitation flick tarted up with art-house actors and psychobabble.
  11. It seems doubtful that Surveillance, a would-be transgression that tries to squeeze dark laughs from the spectacle of human suffering, would be taking up space in theaters if its director were not the daughter of a name filmmaker.
  12. Too campy to work as straight drama and too violent and sordid to function as comedy, Vulgar is, truly and thankfully, a one-of-a-kind work.
  13. A film that even a rabid lowbrow like Homer Simpson (or, when the mood strikes, this critic) would find beneath his dignity.
  14. Bottom-feeding monstrosity of a comedy.
  15. Ms. Ryan's lean, eagle-eyed golden girl is enough to curdle milk.
  16. It's a little sad to see actors of the quality of Christopher Plummer and Jonny Lee Miller struggling straight- faced to dignify this sewage.
  17. Mush, delivered with a trembling, quasi-biblical solemnity, is what emanates from Anthony Hopkins most of the time in Hearts in Atlantis, a nostalgic fiasco so shameless it makes movies like "Simon Birch" and "Frequency" seem as austere as the work of Robert Bresson.
  18. At the end the picture seems to acknowledge its own ludicrousness, but by then it, like Beans, is beyond rescue.
  19. No doubt there are those who will deem Simon Birch ''heartwarming.'' It is exactly the kind of movie that has given that hackneyed superlative a bad name.
  20. The film makers had declared they were bravely exploring new levels of licentiousness, but the biggest risk they've taken here is making a nearly $40 million movie without anyone who can act. The absence of both drama and eroticism turns Showgirls into a bare-butted bore.
  21. If someone left "1984," "Fahrenheit 451," "Brave New World," "Gattaca" and the Sylvester Stallone potboilers "Judge Dredd" and "Demolition Man" out in the sun and threw the runny glop onto a movie screen, it would still be a better picture than Equilibrium, a movie that could be stupider only if it were longer.
  22. One way to get through Baby Geniuses is to think about whether it really is the worst movie you've ever seen. Probably not, but pretty darn close.
  23. It may be a bit early to make such judgments, but Battlefield Earth may well turn out to be the worst movie of this century.
  24. Thoroughly incoherent... A dreary fizzle. [12 Jan 1996, p.C12]
    • The New York Times
  25. Villainy toward the infant class now comes from Jon Voight, descending to the depths of his 37-year-career.
  26. The movie... hasn't the foggiest notion whether it's a soap opera or a horror film, and wanders around in a generic fog.
  27. The results are so disastrous that absolutely no one is shown off to good advantage, with the possible exception of the hairdressers involved.
  28. Like so many Eddie Murphy misfires, Vampire in Brooklyn has no idea how to capitalize on the actor's immense appeal. The film was directed by the horror master Wes Craven and it turns out to be an Eddie Murphy-Wes Craven movie that is not funny or scary. Now that's a nightmare.
  29. This muddled film about a secret C.I.A. project in Laos in 1969 fails on every possible level: as action film, as buddy film, as scenic travelogue and even, sad to say, as a way to flaunt Mel Gibson's appeal.

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