The New York Times' Scores

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For 20,269 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:
  1. Positive: 9,377 out of 20269
  2. Mixed: 8,428 out of 20269
  3. Negative: 2,464 out of 20269
20269 movie reviews
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  1. Chimes at Midnight
    A confusing patchwork of scenes and characters.
  2. Bringing Up Baby
    After the first five minutes of the Music Hall's new show - we needed those five to orient ourselves - we were content to play the game called "the cliche expert goes to the movies" and we are not at all proud to report that we scored 100 per cent against Dudley Nichols, Hagar Wilde and Howard Hawks, who wrote and produced the quiz. Of course, if you've never been to the movies, Bringing Up Baby will be all new to you - a zany-idden product of the goofy farce school. But who hasn't been to the movies?
  3. To Be or Not to Be
    In a spirit of levity, contused by frequent doses of shock, Mr. Lubitsch has set his actors to performing a spy-thriller of fantastic design amid the ruins and frightful oppressions of Nazi-in-vaded Warsaw. To say it is callous and macabre is understating the case.
  4. A Fish Called Wanda
    The dialogue reports funny things instead of showing them. The movie remains in a limbo halfway between the informed anarchy of Monty Python comedy stripped of all social and political satire, and the comparatively genteel comedy of "The Lavender Hill Mob." [15 July 1988, p.C8]
    • The New York Times
  5. Dallas Buyers Club
    There is warmth and intelligence here, and undeniable sincerity, but also a determination, in the face of much painful and fascinating history, to play it safe.
  6. The Tarnished Angels
    Mr. Faulkner's faded story does have some flavor of the old barnstorming tours of the early air-circus fliers, but there is precious little of it in this film, which was badly, cheaply written by George Zuckerman and is abominably played by a hand-picked cast.
  7. Possession
    It's a movie that contains a certain amount of unseemly gore and makes no sense whatsoever.
  8. The Raid: Redemption
    The mousetrap setup and tight fight spaces, the bad blood and cruel deaths - soon makes the movie grindingly monotonous, a blur of thudding body blows.
  9. Honey Boy
    One could watch Honey Boy musing that it must be nice to have someone finance a movie of your 12-step qualification. That assessment is actually too generous.
  10. My Name Is Pauli Murray
    Indeed, Murray’s story is a remarkable — and extensive — one that the filmmakers stuff into an hour and a half that feels like a dull and disorganized PowerPoint lecture.
  11. Let Them All Talk
    Despite the talented actors onscreen, Soderbergh’s mannered direction lacks charisma and the characters lack chemistry.
  12. Shang-Chi and the Legend of the Ten Rings
    The film uses the superficial markers of Asian culture and filmmaking without presenting anything unique in its Marvel take on that tradition.
  13. Nocturama
    Without a real-world correlative for the actions it depicts, Bertrand Bonello’s new film would merely be tedious and pretentious rather than repellent.
  14. Escape from Mogadishu
    With little interest in elucidating the conflict at hand, much less in distinguishing between the various Somali parties in play, “Escape” is a wildly inadequate history lesson — it’s a silly blockbuster after all. More offensive is the film’s eagerness to whittle one nation’s traumatic episode into a setting for confectionary escapades.
  15. The Score
    I don't know how much The Score cost, but it's pretty close to worthless.
  16. Greener Grass
    A deadpan take on suburban hell — I hesitate to call it a comedy, black or otherwise — the movie takes competitiveness to such excruciatingly surreal lengths that every would-be joke feels agonizingly strained.
    • 69 Metascore
    • 30 Critic Score
    Performance
    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.
  18. Cha Cha Real Smooth
    I didn’t believe a single second in Cha Cha Real Smooth, but the movie isn’t trying to convince you of anything. It just wants you to like it. It wants you to smile, nod in recognition, shed a tear or two and feel good about yourself for liking it. It’s an exemplar of American indie entertainment at its most canned and solipsistic.
  19. House of Wax
    The major causes for anxiety presented by this film are in the savagery of its conception and the intolerable artlessness of its sound. It is thrown and howled at the audience as though the only purpose was to overwhelm the naturally curious patron with an excess of brutal stimuli.
    • 68 Metascore
    • 30 Critic Score
    The Last House on the Left
    The party who wrote this sickening tripe and also directed the inept actors is Wes Craven.
    • 68 Metascore
    • 30 Critic Score
    Page One: A Year Inside the New York Times
    The movie's main theme, no surprise, is the struggle of The Times to survive in the age of the Internet. But it does little to illuminate that struggle, preferring instead a constant parade of people telling the camera how dreadful it would be if The Times did not survive. True, of course, but boring to the point of irritation after five or six repetitions.
  22. An Affair of Love
    Clearly, this is an affair to forget.
    • 66 Metascore
    • 30 Critic Score
    The Boston Strangler
    THE BOSTON STRANGLER represents an incredible collapse of taste, judgment, decency, prose, insight, journalism and movie technique, and yet—through certain prurient options that it does not take—it is not quite the popular exploitation film that one might think. It is as though someone had gone out to do a serious piece of reporting and come up with 4,000 clippings from a sensationalist tabloid.
  24. Miller's Crossing
    Weightless. It is also, unfortunately, without much point at all... A movie of random effects and little accumulative impact.
  25. So Close
    With the exception of some of the battles, which have the angry desperation of Mr. Yuen's inspired martial-arts choreography, Close is a nominal effort.
  26. Talk Radio
    A mess of a movie that comes complete with a conventional beginning, middle and end, and long, spongy flashbacks...a nearly perfect example of how not to make a movie of a play.
  27. Minor Premise
    When a movie that feels this scientifically far-reaching lacks heart, the viewing experience is a dreary, soulless one.
  28. 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.
  29. Buried
    In the movie's cheapest, most exploitative gesture - just as it is about to run out of tricks - a snake slithers into the pine box in which Paul awakens bound and gagged, not knowing where he is. With that gimmick, the movie sacrifices its last shred of integrity.
  30. The Dead Girl
    Just when it seems as though the language of insult and humiliation couldn’t get any nastier, the movie escalates the barrage.
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