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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    • tbd Metascore
    • 40 Critic Score
    100 Rifles
    It is a loud, churning and triumphantly empty exercise.
  2. The Good Liar
    The real good liar is whoever convinced Mirren and McKellen to class up such thin and arbitrary material.
  3. Superintelligence
    This is a movie of bits, enacted by varied comic luminaries. McCarthy’s “who me?” winsomeness, running neck and neck with her quick-witted cheekiness, is familiar. A new dynamic is added by the inspired Brian Tyree Henry.
  4. Oh, God!
    An uneasy amalgam of inconsistent attitudes, without enough humor or zaniness to divert attention from its questionable premise.
  5. Extremely Wicked, Shockingly Evil and Vile
    Working ostensibly from the viewpoint of Bundy’s longtime girlfriend, Liz Kendall (an excellent Lily Collins), [Director] Berlinger never fully commits. Instead, he appears as seduced by Bundy as virtually everyone else in the movie.
  6. This One's for the Ladies
    The movie’s determination to make stripping mundane has a way of infecting the film. Even the dancing sequences, often shot in poor lighting as if on a smartphone camera, look perfunctory.
  7. Aniara
    Kagerman and Lilja thoughtfully constructed their film, yet they leave nothing for the mind to do besides consume unrelenting tragedy.
  8. Angel Has Fallen
    "The Fugitive,” to which “Angel” owes perhaps even its rooftop finale, is a template against which this movie inevitably falls short.
  9. Ghoulies
    This one is a cut-rate Gremlins, about some small, nasty creatures brought forth by a young man dabbling in the occult.
  10. An Acceptable Loss
    For a political thriller to come up with a scheme that feels genuinely rousing, An Acceptable Loss would need the two qualities it most severely lacks: style and substance.
  11. Men in Black: International
    F. Gary Gray can be a fine action director and sometimes better than fine, but the scenes that should pop and pow — given the squealing tires, bared knuckles and laser beams — consistently fall flat.
  12. Paradise Alley
    A phony, attitudinizing, self-indulgent mess, a multimillion-dollar B (for boring) picture with the ear of a cauliflower, the heart of a hustler and the soul of a used-car salesman.
  13. Under the Eiffel Tower
    The film is yet another ode to the restorative magic of wine country sunshine, which apparently also has the power to expose the story’s egregious midlife-crisis clichés.
  14. Ashes in the Snow
    There are a few powerful images.
  15. Lifeforce
    Lifeforce shows off Mr. Hooper's way with a whirling mass of protoplasm, just as Poltergeist did. But its style is shrill and fragmented enough to turn Lifeforce into hysterical vampire porn.
  16. Heartlock
    Some scenes in this film, directed by Jon Kauffman, put across the perversity of prison social ecosystems. But the picture’s gender and race dynamics, not to mention its forced star-crossed lovers theme, are sufficiently commonplace to register as hackneyed.
  17. No Holds Barred
    More than Sylvester Stallone or Arnold Schwarzenegger, Mr. Hogan behaves like a self-invented comic-book character sprung to life. No Holds Barred is as cartoonish as its star.
  18. Krush Groove
    Unfortunately, the skimpy screenplay by Ralph Farquhar insists upon entangling the performers in the most conventional subplots imaginable. Talent contests, feeble attempts at romance and the travails of a struggling young record company are all enlisted, however briefly, in the effort to drum up backstage activities for the players, who are best watched in performance anyhow. Rap music is infinitely more original than these creaky devices, and it deserves something better.
  19. Porky's Revenge
    Porky's Revenge proceeds with the kind of comic pacing that has the audience laughing way ahead of each joke. Some of it is funny, but it's also entirely predictable.
  20. Turk 182
    A movie with a sloppily sentimental heart that's as big as the city in which its story takes place.
  21. Bobby Deerfield
    Big, expensive, ultimately ridiculous movie that appears to have been constructed to be a Love Story on wheels.
  22. The Devil All the Time
    Every faded dress looks attentively fitted, each ramshackle house artfully weathered. If the performances are considerably less persuasive it’s partly because Campos shows no interest in the inner lives of his characters. And while Pattinson’s and Keough’s roles are risible, the actors at least show signs of (comic) life.
  23. Nightbreed
    Surrounded by Mr. Barker's visual clutter and lack of narrative energy, Mr. Cronenberg's presence only highlights the difference between a gruesome but first-rate psychological horror story like Dead Ringers and a mediocrity like Nightbreed.
  24. IO
    The dynamic between Sam and Micah shifts the film into romantic melodrama, as lifeless and as chaste as the windswept apocalypse that surrounds them.
  25. The Man Who Killed Hitler and Then The Bigfoot
    There is something admirably perverse about a movie that treats the killings of Hitler and Bigfoot as secondary to a character study of a crusty old man and his regrets, but that doesn’t make the film less dull or deflating to watch.
  26. The Loveless
    The Loveless, a pathetic homage to the 1950's, has been made by two writer-directors, Kathryn Bigelow and Monty Montgomery, who share an unmistakable longing for that era. But their nostalgia expresses itself no more interestingly than through a lot of silly, lifeless posturing, plus the use of colors like chartreuse.
  27. Berlin, I Love You
    Most of this movie, which is almost entirely in English, is taken up with tone-deaf humanist tales.
  28. The Unicorn
    Robert Schwartzman’s direction is blah, his story labored and the supporting characters one-note.
  29. The Tomorrow Man
    The Tomorrow Man is a cloying, at times disturbing tale of two dotty seniors whose eccentricities unexpectedly mesh.
  30. On Deadly Ground
    Mr. Seagal's own film is awesomely incoherent, a mixture of poorly executed violence and Dances With Wolves-style astral musings.
  31. The Glimmer Man
    Short on suspense, routine in its action and monotonous in its performances.
  32. Cocoon: The Return
    Cocoon: The Return is so tired, in fact, that it can barely recapitulate the winning formula of the original hit.
  33. After the Wedding
    What should be a volcano of betrayal and acrimony never fully erupts; even Moore’s brief meltdown feels staged, and Isabel is so irritatingly tranquil that Williams has no room to breathe in the role.
  34. Blinded by the Light
    These songs have the power to move, inspire, make you dance. For the first time in my experience of Springsteen, they made me want to hide under my seat.
  35. Tora! Tora! Tora!
    From the moment you read the ads for Tora! Tora! Tora! ("The Most Spectacular Film Ever Made!”), you are aware that you're in the presence of a film possessed by a lack of imagination so singular that it amounts to a death wish.
  36. The Suicide Squad
    The violence is the most consistently inventive part of the whole package, though it grows tiresome in its thudding repetition. Like the story’s superficial finger-wagging at American wrongs, the brutality is both decorative and ritualistic.
  37. Them That Follow
    We learn so little about these characters or the forces that shaped them that we’re never drawn into their drearily blinkered world.
  38. Little Monsters
    The charismatic Nyong’o is easily the best part of this feeble Australian horror comedy.
  39. The Italian Job
    The film is technically sophisticated and emotionally retarded.
  40. Endless Love
    Mr. Zeffirelli and his screenwriter, Judith Rascoe, have bitten off so much more than they can chew that their film is virtually unintelligible at times. A great deal happens in the novel, much more than this two-hour movie can contain. But it tries to touch so many bases that its transitions are jolting, its scenes often undeveloped, and the motives of its characters frequently unclear.
  41. The Gospel of Eureka
    Favoring the superficial over the substantive, The Gospel of Eureka keeps skirting opportunities to excavate experience.
  42. Red Joan
    Leave it to the feted British theater director Trevor Nunn to flatten the intrigue and dampen the lust that could have made Red Joan zing.
  43. American Flyers
    Even though American Flyers is a fatal disease movie involving a couple of bike-racing brothers, it's the film - and not any character - that dies as you watch it.
  44. Dirty Mary Crazy Larry
    Dirty Mary Crazy Larry is as aimless as its dimly seen characters, who talk a lot of dreadful, cute-tough dialogue but are never recognizable except as the actors who play them. Even that factor isn't much help in enjoying the film.
  45. The Kid
    Set in the American Southwest in 1879, The Kid feels less like an actual movie than a table-napkin idea for one.
  46. The Burning
    The Burning makes a few minor departures from the usual cliches of its genre, though it carefully preserves the violence and sadism that are schlock horror's sine qua non.
  47. Ice Castles
    It's too bad that Mr. Wrye's bungling renders the story sob-proof, because injured-athlete sagas are usually so hard to resist.
  48. The Wandering Earth
    It is just as awash in murky computer imagery, stupefying exposition and manipulative sentimentality as the average Hollywood tentpole.
  49. Paternity
    With the exception of Miss D'Angelo and Lauren Hutton and Elizabeth Ashley, who make cameo appearances, almost everything in Paternity is tired and perfunctory. This is especially true of Mr. Reynolds.
    • 42 Metascore
    • 40 Critic Score
    Jake Speed
    Most of the possibilities for humor or tension, either sexual or dramatic, are badly botched by the flat performances of the other lead actors and the consistent bad timing of the director - everything misfires or misconnects, leaving too many long, dead moments that prove that even an adventure film with lots of running and shooting can be boring.
  51. Cutter's Way
    It's the sort of picture that never wants to concede what it's about. It is, however, enchanted by the sound of its own dialogue, which is vivid without being informative or even amusing on any level.
  52. Rich and Famous
    The movie can't make up its mind whether it's about a tumultuously difficult but rewarding friendship or whether it's a sendup of the contemporary literary scene. It fails as both.
  53. Modern Problems
    TWENTIETH Century-Fox knew exactly what it was doing when it decided to open Modern Problems at theaters all over New York on Christmas Day, without advance screenings for the press. It's not that Modern Problems is so bad, though it is incredibly sloppy.
  54. Space Jam: A New Legacy
    There’s a nearly astute satire of the app-driven life bubbling under the meta high jinks. And the movie throws so many gags at the screen that several jokes actually stick. But the purposeful sensory overload mostly yields head-spinning stupefaction, leaving a viewer feeling like Wile E. Coyote after hitting a mesa wall.
  55. The Parallax View
    The movie, which directed by Alan J. Pakula, never rewards the attention we give it with anything more substantial than a few minor shocks.
  56. The Art of Self-Defense
    The one halfway-interesting part of this movie is Nivola’s performance, which operates at both a deeper register of seriousness and a higher pitch of comedy than anything else.
  57. Alice
    Alice (rightfully) regards the choices of its heroine with respect and empathy. But its picture of sex work as an easy out, devoid of any real danger, feels like a simplistic fantasy.
  58. Go Back to China
    The biggest trouble here is in the writing. By the time the film gets around to showing what a character has felt, they have already told the audience twice — and most likely another character has explained as well, just in case anyone missed the memo.
  59. The Killing of a Chinese Bookie
    Watching the film is like listening to someone use a lot of impressive words, the meanings of which are just wrong enough to keep you in a state of total confusion, but occasionally right enough to hold your attention. What is he trying to say? It takes a little while to realize that maybe the speaker not only doesn't know but doesn't even care to think things out.
    • 50 Metascore
    • 40 Critic Score
    Roustabout
    Unfortunately, the very thinnest of stories has been extracted from the colorful world of the carnival. The picture simply ambles around in a circle, getting nowhere.
  61. Charly
    I'm told by someone whose opinion I respect that the novel was very moving and very sad. The movie is not. It's science-fiction without gadgets, a horror film without thrills.
  62. Fisherman's Friends
    Between predictable, commonplace plot turns and characterizations of music business types that are even more obnoxious than the norm, the movie’s straining for effect is less than ingratiating.
  63. Sweet Charity
    Sweet Charity, the film adaptation of the Broadway musical, has been so enlarged and so inflated that it has become another maximal movie: a long, noisy and, finally, dim imitation of its source material.
  64. Instant Dreams
    Baptist’s approach, treating his subjects like characters in a drama, is ultimately frustrating.
  65. Doctor Dolittle
    Richard Fleischer's direction, is slow and without surprise. Indeed, toward the end it is perfunctory. Things happen mechanically. The actors appear self-conscious and the fantasy is dull.
  66. Clementine
    Although the camera’s attention to faces and gazes, coupled with an eerie soundtrack, conjures a vague mood of suspense and seduction, the plot fizzles out quickly without any real provocations.
  67. Georgetown
    The cast can only do so much with thin material, and Waltz, duping and swindling grandly, isn’t equipped to make the long con interesting.
  68. The Convent
    Hyett proves more successful with atmosphere than plot.
  69. Papi Chulo
    Papi Chulo tries to subvert the conceit that casts brown people as uncomplicated support systems for conflicted white people, but lacks the vision to transform these familiar stereotypes.
  70. Always Be My Maybe
    Always Be My Maybe feels a lot like a movie propped up by a stunt, a high-gloss romantic comedy so mired in triteness and unconvincing emotions that its main recommendation is the appealing diversity of its cast.
  71. Clara
    While the movie’s morose mysticism is tolerable enough, once “Clara” starts arguing for following feelings instead of data, it puts on its own tinfoil hat.
  72. In the Aisles
    Imagine a Kaurismaki with less humor and a slower pace, and you’ll have a sense of how singular yet insubstantial In the Aisles ultimately appears.
  73. Sibyl
    Whether psychological drama or sexual farce — and, really, there’s no way to tell — Sibyl is a soapy mess.
  74. The Climb
    Rather than ascending to new heights of bromance, The Climb coasts down into the barren flatlands of masculine self-pity.
  75. Perfect
    The upshot is an oppressive, inscrutable puzzle that made me more curious about the inside of Alcazar’s head than that of his tortured subject — the kind of movie that, in some circles, might inspire fetishistic rewatching. Just don’t forget to fire up the bong.
  76. Harakiri
    You may not get much satisfaction from the tortured human drama in this film, but you should get an eyeful graphic exercise.
  77. What Ever Happened to Baby Jane?
    The feeble attempts that Mr. Aldrich has made to suggest the irony of two once idolized and wealthy females living in such depravity and the pathos of their deep-seated envy having brought them to this, wash out very quickly under the flood of sheer grotesquerie. There is nothing particularly moving or significant about these two.
  78. My Spy
    It has too much violence and language for family viewing, but doesn’t commit enough to the danger of spy thrillers to stir the Bond and Bourne lovers among us. In the end, it doesn’t know which mission it chooses to accept.
  79. DC League of Super-Pets
    This brand of arch, inside-baseball riffing is a scourge on modern family films, present in almost every animated movie with an all-star cast. But it’s especially grating delivered by Johnson and Hart, who, despite the vocal talent they have shown in the past, give two of the least inspired voice performances in recent memory.
    • 46 Metascore
    • 40 Critic Score
    Foxy Brown
    Miss Grier is obviously durable but, unfortunately, is fast becoming a bore despite all the sex, brawls and gore in Foxy Brown.
  81. The Bad Seed
    Mervyn LeRoy, who produced and directed, has lost a great deal of the bite of the play. He has done it in a style of presentation that is ostentatious and often insincere.
  82. Back to the Fatherland
    The survivors offer several potent recollections. Yet most other scenes linger and provide few insights.
  83. Carmen Jones
    There is nothing wrong with the music—except that it does not fit the people or the words. But that did not seem to make much difference to Mr. Hammerstein or Mr. Preminger. They were carried away by their precocity. The present consequence is a crazy mixed-up film.
    • 74 Metascore
    • 40 Critic Score
    Gun Crazy
    Pretty cheap stuff.
  85. Big Wednesday
    The movie often seems even more uneventful than material like this need make it, and Mr. Milius's attention to his actors focuses more closely on their pectorals than on their performances.
  86. Corvette Summer
    The central portion of Corvette Summmer, set in Las Vegas with an Alice in Wonderland air, has a visual zaniness that meshes effectively with the script. But for the most part, the movie takes a slender, boyish conceit — of the sort that is suddenly so popular among Hollywood's current batch of boy wonders — and invests it with silliness rather than whimsy.
  87. The Champ
    The most offputting thing about such canny, tear-stained movies as The Champ is not their naïveté but their unholy sophistication. These movies don't mean to deal with the world as it really is, but as it should be, a place where there's no pile-up of emotional garbage too big that it can't be washed clean by a good cry.
  88. Demon Seed
    Gadget-happy American moviemaking at its most ponderously silly.
    • 56 Metascore
    • 40 Critic Score
    Rollerball
    It's not funny at all and, not being funny, it becomes, instead, frivolous.
  90. Luz
    Despite the strange, echoing beauty of its images ... "Luz" is, as a whole, visually numbing and mentally taxing.
  91. The Way We Were
    By, some peculiar alchemy, The Way We Were turns into the kind of compromised claptrap that Hubbell is supposed to be making within the film and that we're meant to think is a sellout. It is.
  92. Loverboy
    Lover Boy should have had the courage to admit it is hopelessly tacky.
  93. Last Christmas
    Feig is an adroit director of comedy and he gives Last Christmas some fizz now and again. But he’s stymied by the romance and the gimmick, and the pairing of Clarke and Golding proves an impossible hurdle, making even the seemingly simplest moments — an intimate walk, a heartfelt talk — feel badly labored.
  94. Doctor Strange in the Multiverse of Madness
    There isn’t much of a love story here. There isn’t much of anything, even as there’s too much of everything.
  95. The Painted Bird
    While Kosinski’s prose renders the grotesque vivid by understatement, this adaptation often seems to have little purpose beyond literal-minded visualization.
  96. Boi
    The tantalizing clues, occasional laughs and lapses in reality are not enough to hold this film together.
  97. Angel of Mine
    Rapace’s jangly, one-note performance is rendered bearable by Yvonne Strahovski’s warmly natural turn as Lola’s increasingly furious mother.
  98. The Devils
    It's a see-through movie composed of a lot of clanking, silly, melodramatic effects that, like rib-tickling, exhaust you without providing particular pleasure, to say nothing of enlightenment.
  99. Someone to Watch Over Me
    Howard Franklin's screenplay plays less like a feature film than like the pilot for a failed television series about New York policemen.
  100. Cannery Row
    The only people who emerge from this precious nonsense smelling good are Richard MacDonald, the English production designer, and Sven Nykvist, the Swedish cameraman.
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