The New York Times' Scores

For 8,629 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 2.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 All Is Lost
Lowest review score: 0 Air America
Score distribution:
8,629 movie reviews
  1. Like Warwick himself, the movie begins to run amok after a taut and tantalizing first act. Not even Mr. Hyde Pierce's best efforts can make sense of a character who by the end of the film seems to be a completely different person with the same name.
  2. A hopeless jumble of visual and linguistic styles.
  3. 100 percent goo.
  4. A tedious World War II epic that slogs across the screen like a forced march in quicksand.
  5. The gay, independent comedy Adam & Steve is as crude and nonsensical as any number of B-list studio equivalents, with the added disadvantages of a low budget and shaky direction by Craig Chester, who wrote and also stars.
  6. Neither funny nor sexy, nor leavened by the wistful laissez-faire wisdom of the typical sophisticated Gallic comedy, it is less than a trifle.
  7. A grindingly conventional comedy that insists on tying up its subplots in pretty ribbons and bows.
  8. Few people other than future airline passengers should be subjected to such misery.
  9. Imagine "Last Tango in Paris" remade as a wan, low-budget romantic comedy.
  10. Its bone-deep willingness to do anything to entertain is exhausting.
  12. Tricked up with an elaborate flashback structure, subtitled dialogue in three languages and as many gratuitous aesthetic touches as the traffic will bear, Proteus emerges as a heavy, pretentious and derivative film.
  13. Bland, unrevealing.
  14. What makes this nonsense more galling than usual is that while Ladder 49 might have started out as a heartfelt attempt to honor those in the line of literal fire, it weighs in as an attempt to exploit their post-Sept. 11 symbolism.
  17. Not only is it excruciatingly boring -- but its central premises are so banal and dubious as to border on offensiveness.
  18. Pee-Wee's Big Adventure is the most barren comedy I've seen in years, maybe ever.
  19. This candy-colored movie, whose soft hues match the colored cereal loops that Alby devours at his mother's house, is a post-Freudian fable that wants to be a kind of anti-"Wizard of Oz" for a culture inundated with toys and toons.
  20. The upbeat ending can't erase the lingering aura of being trapped in an insane asylum with the Manson family.
  21. This is a time-tested movie con, but rarely has it been deployed so contemptibly.
  23. Long on atmosphere and short on believability.
  24. The law of averages demands that every once in a while a movie must come along starring young nonprofessional actors who aren't very good. That's unfortunately the case in 15.
  25. The queasiness produced by this sentimental weepie builds into a wave of nausea during its interminable finale.
  26. Begins to seem not so much an examination but an exploitation.
  27. Overcompensates for its sloppiness with loud, knockabout farce.
  28. Has nothing on its mind besides the squirming discomfort of its audience, the achievement of which it holds up as a brave political accomplishment.
  30. Newsies is a long, halfhearted romp through what is made to seem a not terribly compelling chapter in New York City's history.