The New York Times' Scores

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For 20,268 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 4.3 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:
  1. Positive: 9,377 out of 20268
  2. Mixed: 8,427 out of 20268
  3. Negative: 2,464 out of 20268
20268 movie reviews
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  1. Magic Hour
    A crafty reveal does not a clever film make, and even at a merciful 80 minutes, the device eventually feels more tired than the sullen Erin, who soldiers on through her suffering.
  2. One Spoon of Chocolate
    An empty muddle of social commentary with little intensity.
  3. Michael
    Here, what we are left with is a string of musical set pieces, like a greatest hits album, performed ably by the stars — in his debut role, Jaafar Jackson dances like he is possessed by his uncle’s talent — but strung together in repetitive false-note ways that are insulting both to audience and subject.
  4. Outcome
    A slapdash satire of modern celebrity culture that is awkward where it wants to be acerbic and clumsily maudlin where it wants to be meaningful.
  5. The Truth and Tragedy of Moriah Wilson
    The Truth and Tragedy of Moriah Wilson is the latest product off the crime documentary assembly line to raise the question of why it exists and what it ever hoped to achieve.
  6. The Super Mario Galaxy Movie
    There’s a flat empty nothingness to The Super Mario Galaxy Movie, even more than its flat empty predecessor, and that’s a huge bummer.
  7. Slanted
    It is no fun for a viewer to scoff at a film that purports to speak to pain that is real for many. But “Slanted” doesn’t actually have any interest in contending with those experiences seriously, instead using its palely observed traumas as a launchpad for a pastiche of other punchier genre films.
  8. War Machine
    Such blunt messaging reduces the onscreen carnage, which relentlessly occurs via this mute machine’s searing lasers, barrage of bombs and kaiju breath, to little more than the human toll required for this particular military man to feel again. Worse yet, the film concludes with hawkish intensity, fashioning itself into a tasteless recruitment video.
  9. Psycho Killer
    When it comes to this Dumpster’s worth of horror nothingness, that’s the inescapable question, translated into English: What is it?
  10. The Dreadful
    The knight might represent the contagion of human evil, and Anne’s story a journey of proto-feminism, but for all its big themes, the most resonant is the film’s title.
  11. The Strangers: Chapter 3
    Now that the third and mercifully final film has flumped into theaters, this empty trilogy offers few worthwhile returns other than well-duh horror lessons that should (but won’t) sink in: Leave good horror alone, and relentless cat-and-mouse games do not a movie make.
  12. Melania
    Much like the dress that Mr. Pierre designed for her — a white number whose bold black zigzag obscures all of its seams — Mrs. Trump seems exceptionally good at keeping hidden how everything, her marriage and family included, fits together.
  13. Worldbreaker
    Directed by Brad Anderson, Worldbreaker is committed above all to shortchanging its themes, along with excitement and visual interest, a showy Steadicam shot notwithstanding.
  14. Return to Silent Hill
    “Return” cranks the chaos factor up several gears. Maybe that’s a logical shift for a franchise about a creepy New England town that jostles its visitors around multiple planes of reality. Though, here, it’s not as fun as that sounds.
  15. Mercy
    A witless, thrill-free hodgepodge of shinily packaged action-thriller clichés.
  16. My Neighbor Adolf
    While the lead actors are clearly committed, the movie gives them little to do besides exchange verbal invective.
  17. The SpongeBob Movie: Search for Squarepants
    All of its head-spinning action has a stultifying effect. At all times, the film seems afraid that it’ll lose its audience’s attention, barraging us with the mindlessly zany to hold our engagement.
  18. The Age of Disclosure
    Question the film and you’re a chump, it implies. But anyone who sits through its nearly two hours of unprovable claims is a chump of a different sort.
  19. The Carpenter's Son
    To graft the story of Jesus onto the template of a genre film is, if blasphemous to the faithful, and mainly just silly to everyone else.
  20. Sarah's Oil
    A David and Goliath story with big feelings, edifying speeches and a swelling score, Sarah’s Oil is a movie that will surprise nobody. Viewers might even make out a regressive strain reinforcing the feel-good mood.
  21. Shelby Oaks
    A derivative and dogged horror movie that reverts to rote with wearying regularity.
  22. Play Dirty
    Play Dirty is a misanthropic work. Which isn’t inherently a deal breaker, but a stiff Wahlberg lacks the moxie to make the brutal barrage of death amusing or worthwhile.
  23. The Strangers: Chapter 2
    With little furtherance of the plot beyond confusing flashbacks to a creepy childhood triad, “Chapter 2” is hackneyed and silly, relying heavily on Petsch’s sneakily resilient scream queen.
  24. Gabby's Dollhouse: The Movie
    What comes next is a case of sensory overload without substance, complete with nondescript pop songs and an array of outfits — each purchasable online! — for Gabby and the gang. Even Wiig, giving it her all as a modern clone of Cruella de Vil, appears somewhat shipwrecked amid the sugary material.
  25. French Lover
    It’s an open question as to whom the film insults the most: the principals (Marion gullibly believes that Abel does his own stunts; Abel is so spoiled he can’t perform basic household tasks); the public (depicted as clamoring for brainless celebrity gossip); or you, the viewer, from whom so little has been demanded.
  26. The Senior
    You can simply surrender yourself to the bland moral lessons of the movie, but even then, it’s hard not to feel like this was best left as a quirky human interest segment on a slow news day.
  27. A Big Bold Beautiful Journey
    Instead of an auteur upgrading his sensibilities with a studio paycheck, “Beautiful Journey” mostly reads as a for-hire job doomed with jumbled writing.
  28. Ebony & Ivory
    Ebony & Ivory, in its unrelenting aggression, is particularly exhausting, though I suppose you have to admire the integrity of its vision. Irritating as Hosking’s humor is, you can’t deny his commitment to the bit.
  29. Stealing Pulp Fiction
    Turkiewicz apes Tarantino’s great film by giving chapter titles to its sections and setting multiple scenes in a diner. These sequences don’t resemble “Pulp Fiction” so much as they do television ads for Chili’s — a locale where you’ll have a better time than watching this utterly misbegotten movie.
  30. Bride Hard
    A smorgasbord of unconvincing danger and semi-schmaltzy lessons in friendship, Bride Hard is rarely as funny as it could be.
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