The New York Times' Scores

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For 20,280 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: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. Anaconda
    Rudd does his lovable simpleton shtick and manic Black carries on, as per usual, like a scruffy Don Quixote, but the film around them doesn’t quite keep pace with their go-for-broke absurdity.
    • 73 Metascore
    • 50 Critic Score
    The Burmese Harp
    This poetically photographed Japanese drama is an earnest but extremely circuitous and overstated antiwar film. It moves like a figure 8, making its point at the middle, then looping around for a second, none-too-convincing hour.
  3. Ella McCay
    Ella McCay is a bizarre movie that would have worked better if it went all-in as an homage to another era. Since we won’t get to see that version, you’ll just have to buckle up and enjoy the very strange ride.
    • 39 Metascore
    • 50 Critic Score
    Hell's Angels
    In every instance so soon as the producer forgets Helen, the flaxen-haired creature, and takes to the war, his film is absorbing and exciting. But while she is the centre of attraction the picture is a most mediocre piece of work.
  5. The Woman in Cabin 10
    A body isn’t the only thing that goes overboard here.
  6. Swiped
    James has a great capacity to pull fragility and strength together, and her performance is the movie’s backbone. The movie itself is both shakier and shallower.
  7. The Rip
    Damon is the only one keeping his head above water, mostly because he’s the only one given the space to make decisions and navigate different dynamics. Everyone else is trapped in a kiddie game of cops and robbers.
  8. Fuze
    Despite a plot (by Ben Hopkins) bursting with double- and triple- crosses, the movie feels programmatic, its characters bland cogs in a Rube Goldberg machine.
  9. Mr. K
    Naturally, the guests are weirdos, though none are very memorable. And since Glover himself is the ultimate weirdo, it all feels a bit much.
  10. Truth & Treason
    No matter its flaws, Truth & Treason is very well acted.
  11. The Moment
    The Moment lights on substantive subjects throughout, yet partly because it’s about one individual’s ostensible struggles rather than the larger system, its bite is toothless.
  12. The Drama
    Zendaya and Pattinson are both enjoyable to watch, but she’s given too little to do and he’s given too much.
  13. Dream Eater
    Less, here, would have really frightened more.
    • 71 Metascore
    • 50 Critic Score
    Crime Wave
    Mr. de Toth's tour is a brisk, pictorial one, honeycombing the shadowy metropolitan fringes and byways where vigilant police sift a gallery of chameleonic habitués. But this canvas narrows considerably, at times unconvincingly, in appraising the plight of Mr. Nelson.
    • 57 Metascore
    • 50 Critic Score
    A Woman's Face
    As melodrama, sheer and simple, the story behind Anna Holm's murder trial is often superbly effective, but when it attempts to become a study of emotional anguish it merely betrays the essential hokum of which the film is constructed.
  16. King Ivory
    While this slick film wants to use their stories to put faces to the fentanyl epidemic, Swab’s genre instincts get the better of him.
  17. David
    It can be a preachy and po-faced movie, to be sure, but a handsome one.
  18. Moses the Black
    A high-strung, faith-based hood drama, Moses the Black has admirable intentions but lacks precision.
  19. Goodbye June
    The story, about a dying matriarch and her stricken adult children, paints by numbers with stock characters and cloying scenarios.
  20. How to Make a Killing
    The story and the actors make How to Make a Killing easy to drift along with, even if it never coheres tonally, logically or, really, any which way.
  21. Midwinter Break
    The saving grace of Midwinter Break is the pair of stellar leads, who would be appealing to watch just fumbling for their reading glasses. That also happens to be the pinnacle of action, however, within this prosaic drama.
  22. The King of Color
    We don’t need to hear about Herbert’s party years after his first marriage faltered. But he still had a cool idea, and his explanations of printing technology and color chemistry are almost enough to carry the film.
  23. Breakdown: 1975
    If you’re an aficionado of ’70s cinema, there’s probably not much new here. The films covered are certainly a murderer’s row of masterpieces, but they’re familiar to cinephiles. Yet despite its lack of depth, there’s value to Breakdown: 1975 as an introduction to an era, particularly for younger people or newer movie lovers who might relish learning about the films of the time and the ways they weave into history.
  24. Night Patrol
    The lumbersome conspiracy-building in the front half, paired with flashy visuals and some performances fitting for a crude stoner comedy, make this a bleary experience overall.
  25. Dracula
    The movie’s intermittent flippancy is its lifeblood, with Christoph Waltz’s cheeky vampire hunter delighting even when he seems to be off doing his own thing.
  26. Peaky Blinders: The Immortal Man
    In its quest to give us a little bit of everything, it finally delivers not nearly enough of anything.
  27. Ladies First
    The easy feminism of winks and role reversals quickly wears thin.
  28. Saccharine
    The supernatural elements — angry ghosts and sunken places — feel like forced metaphors next to Hana’s real-life horrors, and, worse, they diminish the film’s compelling specificity.
  29. In the Blink of an Eye
    With In the Blink of an Eye, Stanton is juggling quite a bit, including many landscapes to create and a lot of imagination for exploration. While the visuals are not exactly eye-popping, the movie is plenty serviceable.
  30. Tom Clancy's Jack Ryan: Ghost War
    The director, Andrew Bernstein, keeps the globe-trotting plot, which Krasinski formulated with the screenwriter Noah Oppenheim (“A House of Dynamite”), galloping along until a final reckoning back where all the nastiness started.
  31. Balls Up
    There are slapstick foibles, sight gags about rubbers, and many, many vulgar jokes — some good for a laugh, though I doubt the film’s Oscar prospects.
  32. You, Me & Tuscany
    To sell its brand of wish fulfillment, the film relies almost entirely on the charisma of its leads.
  33. Lady Sings the Blues
    The former lead singer of the Supremes is on-screen from start to finish, which is to say almost endlessly, but her only apparent limitations are those imposed on her by a screenplay and direction seemingly designed to turn a legitimate legend into a whopper of a cliché.
  34. 200 Motels
    200 Motels is not all bad, but because it's a movie with so many things going on simultaneously, it becomes too quickly exhausting—in actual effect, soporific.
  35. The Players Club
    Campy moments and a luridly colorful look (with cinematography by Malik Sayeed) may give this no-flair, no-frills B movie a healthy video afterlife some day.
  36. The Mirror Has Two Faces
    The overkill of ''The Mirror Has Two Faces'' is partly offset by Ms. Streisand's genuine diva appeal. The camera does love her, even with a gun to its head. And she's able to wring sympathy and humor from the first half of this role.
  37. Legion
    The leaden dialogue and flat-footed storytelling hobble a talented cast.
  38. The Wolfman
    In this shaggy-dog version the wolfman’s story is both gratuitously bloody and, finally, bloodless.
  39. Darkness Falls
    About as scary as a ride on a minor roller coaster, it unrolls its amplified butcher-block shock effects within the first five minutes.
  40. The Spy Next Door
    The outtakes are not all that great but still better than anything else in the movie.
  41. The Last Station
    The kind of movie that gives literature a bad name. Not because it undermines the dignity of a great writer and his work, but because it is so self-consciously eager to flaunt its own gravity and good taste.
  42. Did You Hear About the Morgans?
    There are barely enough titter-worthy one-liners in Marc Lawrence's good-natured romantic comedy Did You Hear About the Morgans? to prevent it from sinking under the weight of its clichés.
  43. 2012
    Despite the frenetic action scenes, the movie sags, done in by multiple story lines that undercut one another and by the heaviness of its conceit.
  44. Surrogates
    In this kind of industrial entertainment, particularly one that seems to be missing some connective narrative tissue, it’s hard to know if the writers or the director can be credited or blamed for what’s left on screen.
  45. The Twilight Saga: New Moon
    The big tease turns into the long goodbye in The Twilight Saga: New Moon, the juiceless, near bloodless sequel.
  46. Planet 51
    Agreeable but flagrantly unoriginal.
  47. New York, I Love You
    The pieces of New York, I Love You make up a parallel city that no one would want to live in, much less visit.
  48. Funny People
    There’s something irritatingly self-satisfied about Funny People, which explains why, though it glances on the perils of fame, it mostly affirms its pleasures.
  49. The Time Traveler's Wife
    Often ridiculous, awkward, unsatisfying and dour melodramatic adaptation.
  50. Watchmen
    As it is, the film is more curiosity than provocation, an artifact of a faded world brought to zombie half-life by the cinematic technology of the present.
  51. The Fourth Kind
    May be humorless, paranoid nonsense, but its biggest failure is its inability to scare.
  52. Black Dynamite
    As a five-minute clip on YouTube, this spoof might be a small masterpiece. As a feature film, it’s both too much and not nearly enough.
  53. Extract
    What’s most striking about Extract, beyond the scarcity of jokes and absence of actual filmmaking, is its deep well of sourness, which at times borders on misanthropy.
  54. Orphan
    There’s something creepy, and not pleasurably so, about watching children pantomime so much malice and fear.
  55. Knowing
    The draggy, lurching two hours of Knowing will make you long for the end of the world, even as you worry that there will not be time for all your questions to be answered.
  56. Whatever Works
    None of it works. Or it works too hard. Whatever.
  57. Away We Go
    Does it sound as if I hate this movie? Don't be silly. But don't be fooled. This movie does not like you.
  58. I Hope They Serve Beer in Hell
    A mediocre gross-out movie that barely pushes the envelope.
  59. State of Play
    A superficially clever, self-important and finally incoherent thriller.
  60. Role Models
    With the ferocity of a drill instructor and the boundless confidence of a self-help guru who combines psychobabble clichés with embarrassingly explicit confessions, Ms. Lynch's Gayle redeems the movie from utter banality.
  61. V for Vendetta
    The more valid question is how anyone who isn't 14 or under could possibly mistake a corporate bread-and-circus entertainment like this for something subversive. You want radical? Wait for the next Claire Denis film.
  62. Sunshine Cleaning
    All in all, it's a mess, and much as Ms. Blunt pouts, Ms. Adams twinkles, and Mr. Arkin growls, there's nothing they can do to clean it up.
  63. Bruno
    In spite of Mr. Baron Cohen and Mr. Charles’s high-level skills and keen low-comic instincts, Brüno is a lazy piece of work that panders more than it provokes.
  64. The Boys Are Back
    Has a burnished, high-quality look and a heart swollen with maudlin self-regard.
  65. Elektra
    No question, the film's best special effect is Ms. Garner, especially when she's in costume.
  66. Assault on Precinct 13
    The main thing this "Assault" lacks is a point. Mr. Carpenter's film still resonates with the political paranoia and social unease of the era. Mr. Carpenter's cynical refusal to distinguish clearly between good guys and bad guys feels freshly unsettling, while Mr. Richet's "modernization" looks like something we've seen a hundred times before.
  67. Are We There Yet?
    The always charismatic Ice Cube makes Are We There Yet? watchable.
  68. She's One of Us
    Handsome but empty film.
  69. Hide and Seek
    That Mr. De Niro and especially Miss Fanning manage to register through all this murk is a testament to their talent, which however squandered does nonetheless shine.
  70. The Wedding Date
    Struggles from beginning to end to capture the charm and ebullience of "Four Weddings." The new movie's effort is mostly unsuccessful, but there are bright spots.
  71. Inside Deep Throat
    A "slam, bam, thank you, ma'am" trifle of an entertainment.
  72. Uncle Nino
    Aggressive heartwarmer, which turns out to be much more of a heartburner.
  73. Constantine
    Tilda Swinton is the Angel Gabriel, adding a touch of high-class celestial cross-dressing to this overblown, overlong attempt - which falls just short of success - to make a movie dumber than "Van Helsing."
  74. Diary of a Mad Black Woman
    So oblivious to genre that it occupies its own special stylistic niche, if you can imagine such a thing as a romantic revenge farce.
  75. Be Cool
    Like the characters, the scenes pile up but go nowhere; the story seems fragmented, the actors unmotivated, unmoored. Mr. Gray has a feel for pulp, but is seriously off his game here.
  76. The Jacket
    This movie is terribly silly, but it's not completely terrible.
  77. Robots
    In the end, though, Robots is hollow and mechanical, an echo chamber of other movies and an awkward attempt to turn the intrinsically scary sensitive-robot theme into something heartwarming and cute.
  78. Dot the I
    If Dot the i, the directorial debut of Matthew Parkhill, has a crass visual flash, it fails to give its characters any credible substance. Even after it purports to eviscerate their psyches, they remain diagrammatic contrivances.
  79. Nowhere Man
    A weird blooper reel, shown as the credits roll, records how often the actors broke into nervous laughter, and this goofy coda undermines any serious intent or honest emotion in the previous, tedious 80 minutes.
  80. The Rider Named Death
    To make a film in 2005 that asks audiences to sympathize with the plight of a band of terrorists is an intellectually audacious gesture.
  81. Milk and Honey
    Milk and Honey is the kind of nightmare-in-a-box you might expect if Neil LaBute remade Martin Scorsese's "After Hours" on a shoestring.
  82. The Ballad of Jack and Rose
    Ms. Miller has attempted to elevate a small Oedipal story about two damaged souls into a grandiloquent epic, Shakespeare by way of Bob Dylan. She misses by a significantly wide mark, largely because she loves her monster too much and his victim too little.
  83. First Love
    All setup and no payoff.
  84. State Property 2
    It is not saying much to point out that the sequel is better than its predecessor (directed by Abdul Malik Abbott), which was crude and amateurish in every way.
  85. The Man Who Copied
    The movie never recovers from its jarring turn into a rushed, unconvincing caper movie with a blasé, Robin Hood attitude.
  86. Death of a Dynasty
    Watching the rest of Damon Dash's playful movie is like entering a room where a large, too noisy party is going on and never fully adjusting to the dark or the din.
  87. Jiminy Glick in Lalawood
    An intermittently funny free-for-all that tries desperately to flesh out a television sketch into a feature-length movie.
  88. My Mother
    Ma Mère may be ludicrous, but its cast displays a commitment that deserves more than grudging admiration.
  89. Madagascar
    Madagascar arouses no sense of wonder, except insofar as you wonder, as you watch it, how so much talent, technical skill and money could add up to so little.
  90. Dominion: Prequel to the Exorcist
    There's no escaping that "Dominion" is finally an act of commercial scavenging. You may retrieve the eggshells, coffee grounds and banana peels from your trash and assemble them into a cute, novelty gift basket. But if you bend down and take a whiff, your nose is still met with the scent of garbage.
  91. Milwaukee, Minnesota
    Mr. Garity's performance doesn't quite redeem this sorely lacking production.
  92. Mr. & Mrs. Smith
    What counts in a movie like this are stars so dazzling that we won't really notice or at least mind the cut-rate writing and occasionally incoherent action. Sometimes Mr. Pitt and Ms. Jolie succeed in their mutual role as sucker bait, sometimes they don't, which is why their new joint venture is alternately a goof and a drag.
  93. The Adventures of Sharkboy and Lavagirl 3-D
    Mr. Rodriguez seems unsure what his film is really about, making the moral of the story -- "dream an unselfish dream" -- feel more like a vaguely judgmental homily than a satisfying conclusion.
  94. Bewitched
    The film's screenwriters conjured up a very clever gimmick when they decided to revamp a favorite 60's television show. Too bad they forgot that a gimmick is no substitute for a screenplay, never mind a real movie.
  95. Rebound
    Short on laughs, if supremely inoffensive, this sleepy nonentity of a movie finds Mr. Lawrence in his huggable teddy bear mode.
  96. Undead
    In the end, the film is a stale, derivative mess that borrows heavily from every zombie and alien movie worthy of imitation, to only ho-hum effect.
  97. Fantastic Four
    Compared with the psychological probing and spiritual brooding of "Batman Begins," Fantastic Four is proudly dumb, loud and inconsequential.
  98. The Dukes of Hazzard
    It would help if the movie were actually funny - or if it actually bothered to be a movie, rather than some car chases punctuated by shots of Ms. Simpson sashaying toward the camera (or more often, away from it).
  99. Four Brothers
    Atmospheric, propulsive and ultimately preposterous melodrama.
  100. Asylum
    Dreary, claustrophobic drama.
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