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. Atlas
    Science fiction often earns its place in memory by envisioning something new and startling — but with Atlas, we’ve seen it all before.
  2. Back in Action
    Back in Action has a better cast than its (often mawkish) writing earns. Mostly, the familiarity takes its toll.
  3. Onlookers
    This is a concept in search of a movie, and an academic exercise that doesn’t give observers much to work with.
  4. Borderlands
    You can see the jokes, but most of them don’t land. Still, there is some neat design work if you squint.
  5. Amelia's Children
    A hilariously awful collision of soap opera and horror movie, Amelia’s Children teeters so precariously on the cliff top of comedy that one wishes the director, Gabriel Abrantes, had dared to kick it over the edge.
  6. Gardens of Stone
    Though a seriously conceived film about the American experience in Vietnam, Gardens of Stone has somehow wound up having the consistency and the kick of melted vanilla ice cream.
  7. Every Time We Say Goodbye
    Tom Hanks is utterly out of place in the Israeli romance Every Time We Say Goodbye...for at least two reasons: because there's something so innately comic about him, even in solemn surroundings, and because he has so much more energy than the film does.
  8. Blood for Dust
    This sluggish, self-serious job-gone-wrong movie could itself stand to be jolted to life.
  9. Catching Fire: The Story of Anita Pallenberg
    Pallenberg is finally in focus. But the picture is tough to look at.
  10. The Nude Bomb
    It's not a question of too little, too late, but of too much, too long.
  11. Five Nights at Freddy's 2
    With its jacked-up production budget, “Freddy’s 2,” at the very least, delivers more intricate set pieces that allow for a spatter of solid kill scenes — the rest is as tame and creaky as its signature animatronic teddies.
  12. The Killer's Game
    The action choreography is better than passable, although Perry adds grindhouse-movie levels of gore and dismemberment in a dubious effort to up the thrill quotient.
  13. Fluke
    Though it is meant to be whimsical and touching, the film's style is leaden, and its story has more danger than excitement.
  14. All That Heaven Allows
    Solid and sensible drama plainly had to give way to outright emotional bulldozing and a paving of easy clichés.
  15. Bite the Bullet
    A big, expensive Western that doesn't contain one moment that might be called genuine.
  16. Space Cadet
    The jokes feel tired. The actors are mostly doing their best, but the screenplay too often leaves them mimicking comedy rather than performing it.
  17. Despicable Me 4
    There’s still occasional fun to be had and a budget that’s clearly put to use, but we’re mostly here, it seems, to keep the Minion cash cow chugging along.
  18. Tempest
    Experiencing it is like watching a 10-ton canary as it attempts to become airborne. It lumbers up and down the runway tirelessly, but never once succeeds in getting both feet off the ground at the same time. The spectacle is amusing in isolated moments but, finally, exhausting.
  19. Double Dragon
    Although these scene-setting futuristic details have some humorous promise, "Double Dragon," the movie they embellish, is an incoherent children's adventure based on a popular video game.
  20. Never Let Go
    Berry is drained of glamour for her role here, and she performs with fierceness; the two boys are also stalwart, but what the movie asks these child performers to do doesn’t add up to effective horror — it’s just opportunistic and gross.
  21. Coup!
    This implication that virility trumps effeteness is, amid an otherwise straightforward comedy, an uncomfortably regressive way to tell the story of how people vie for power in hard times.
  22. Matt and Mara
    Matt and Mara is less a movie than an idea for one. It doesn’t help that neither character is likable, or that the director and writer, Kazik Radwanski, fills the screen with close-ups in lieu of information.
  23. Slingshot
    The paranoia sets in all too quickly in this awkwardly paced thriller, and it’s among a handful of defects in a film whose creative process seemed to begin and end with its final twist in mind, haphazardly and unconvincingly working backward to construct what’s necessary to build up to i
  24. There's Always Tomorrow
    What happens next is cut to order—routine procedure, as they say.
  25. The 4:30 Movie
    Effort goes only so far, and The 4:30 Movie doesn’t surpass Smith’s usual limitations.
  26. When Worlds Collide
    Mr. Pal barely gets us out there, but this time he doesn't bring us back.
  27. Jurassic World Rebirth
    If the franchise wants to be more than a shell of its former self, it’s going to need to recapture the wonder so many felt as kids, or adults, when faced with something so beautifully grand as a dinosaur.
  28. Family Pack
    The game itself is so good. I’m not sure the movie understands why.
  29. The Quiet Ones
    The theft that inspired the movie has been called one of the biggest in Denmark’s history. It deserved a sleeker film.
  30. Brothers
    For a road-trip buddy comedy, a greater crime than being unfunny is perhaps, amid all of the shenanigans, being dull. That is partly the feeling one is left with in the R-rated movie Brothers, which, even with an A-list cast, seems to move on autopilot through all of its pit stops.
  31. Elevation
    Directed by George Nolfi (“The Adjustment Bureau”), Elevation is distinctive not for its innovations in form or narrative — it’s got nothing new to offer — but for the anxieties and attitudes it telegraphs.
  32. Bad Genius
    Despite the film’s aims at spiky commentary, the class rebellion mostly serves as the thin wrapping to, at best, a middling heist movie that loses some of the punchy tension of the original’s getaway sequences. At its worst, it’s no more than a teenage soap opera.
  33. Modi - Three Days on the Wing of Madness
    The energetic and arguably strenuous performance by the lead actor, Riccardo Scamarcio, is something of a flex, to be sure.
    • 56 Metascore
    • 40 Critic Score
    The Invisible Woman
    The script is as creaky as a two-wheeled cart and were it not for the fact that John Barrymore is taking a ride in it we hate to think what "The Invisible Woman" might have turned out to be.
  35. Pedro Páramo
    Where this rich, metaphysical text might have come alive in dreamlike abstraction, Prieto and his screenwriter, Mateo Gil, instead content themselves with a prestige Western on terra firma — grave, good-looking and uninspiring.
  36. Larger Than Life: Reign of the Boybands
    Disappointingly, the documentary prioritizes historical play-by-plays over deeper analysis, spending much of its running time tracing the influence of one boy band on the next. These stories rarely intersect in a way that builds a meaningful or compelling perspective, which might leave viewers asking, what’s the point?
  37. Endless Summer Syndrome
    None of these potentially intriguing avenues play out with much thought, diminishing the emotional effect of a tragedy that winds up seeming like an exercise in style.
  38. Dirty Angels
    Suffers from the discord between the real-life conflicts that make up its setting and the cartoonish characters who propel its plot.
  39. Ad Vitam
    The minimal plot purports to endorse spartan storytelling, but after a promising start the movie detours into an overlong flashback. This may be to give Franck emotional weight, but it only creates belly fat.
  40. Wish You Were Here
    The fault seems to be in the chemistry, not just between the leads — it’s tough to believe that Charlotte and Adam have the connection on their night together that the movie insists upon — but between all of the characters.
    • tbd Metascore
    • 40 Critic Score
    Tomorrow Is Another Day
    Its tensions are manufactured and apparent. List "Tomorrow Is Another Day" as just another picture.
  42. Frankenstein Meets the Wolf Man
    Universal will have to try again.
    • 47 Metascore
    • 40 Critic Score
    Son of Dracula
    Often as unintentionally funny as it is chilling.
  44. Juliet & Romeo
    Watching this largely misbegotten movie (which seems to fulfill all of its aspirations with an utterly tacky ending), then, sometimes brought to mind the sardonic Steely Dan tune “Show Biz Kids.”
  45. King Lear
    The most depressing thing about this Godard work is that it seems so tired, familiar and out of date. The movie's 1960's-ish worship of film as an end in itself, which was a mark of so many earlier, more ebullient Godard movies, now is lifeless.
  46. Opus
    Whoever Opus is supposed to be sending up, its aim is a bit wide of the mark. But even if the movie’s only real goal is to frighten, it bets far too much on its eventual twists.
  47. Green and Gold
    While it speaks well of Nelson’s integrity as a performer that he doesn’t make much effort to render Buck as ingratiating, the result is that the character can be a bit of a drag. His affection for his wife, Margaret (Annabel Armour), shows his softer side.
  48. The Invisible Man Returns
    The Invisible Man Returns is a mite on the ghostly side, too, although neither so horrendous nor so humorous as the first one was.
  49. Until Dawn
    The director, David F. Sandberg (“Annabelle: Creation”) does an exhausting job moving along a script, written by Gary Dauberman and Blair Butler, that’s made slack by mediocre monsters, muddled time loop stuff and underdeveloped characters who seem straight out of a lesser “Goosebumps” episode.
  50. Caught Stealing
    For whatever reason here, Aronofsky always remains at a frustrating remove from Hank, which flattens the emotional and psychological stakes that Butler works so hard to raise.
  51. The Tall Target
    Unless the three authors of this picture have access to some new and startling source, there is no basis other than legend for the silly murder plot unfolded here.
  52. A Sloth Story
    A Sloth Story suffers from a plasticky visual design. The characters seem stiff, like action figures, and their food items, meant to look appetizing, are often rendered as colored medallions.
  53. Going All the Way
    In "Going All the Way," a flashy movie adaptation of Dan Wakefield's popular 1970 novel about growing up in the heartland in the repressed 1950s, Mark Pellington, a director from the world of music video, has inflated a realistic memoir into a garish, hyperkinetic social satire.
  54. Happy Gilmore 2
    The early and largely easy fun begins to curdle into inanity that simply drags (there is, oddly enough, way too much actual golf in this movie), before devolving into an overextended fever dream of celebrity cameos.
  55. Fountain of Youth
    The movie acknowledges its many antecedents.
  56. Nonnas
    Nonnas serves up ethnic comedy on a platter of ham and cheese.
  57. 18 Again!
    References to Harry Truman and the Roaring Twenties are perhaps meant to appeal to an older audience, as is Red Buttons as Jack's friend, but ''18 Again'' isn't successfully aimed at anyone in particular.
  58. The Roses
    I’m here to litigate “The Roses,” and on that front I’m quite confident that it’s a strangely boring failure, whoever’s at fault.
  59. Manon of the Spring
    The events in ''Manon of the Spring'' are no more wildly melodramatic than those in ''Jean de Florette'' but, without the indoctrination provided by ''Jean,'' the second film functions as a mean-spirited review of the first.
  60. Him
    For too long, we’re like players stuck in a dark stadium tunnel, retreading the same concepts and fending off opaque threats, when all we wanted was some action.
  61. The Invisible Man's Revenge
    Unfortunately, trick photography is not sufficient to maintain a whole film, and this one reveals quite plainly that you don't see much when you see an "Invisible Man."
  62. Lavender Men
    Tonal whiplash — farcical comedy, heavy drama, even a musical number — undermines the film’s emotional stakes. You want a better story for Taffeta, and for Lincoln and Ellsworth, too.
  63. The Long Walk
    Lawrence’s commitment to authenticity may be laudable (he filmed almost the entire project on the move in Canada), but it’s clear that he was so busy honoring the book, he forgot to entertain the audience.
    • 63 Metascore
    • 40 Critic Score
    Mr. & Mrs. Smith
    A chucklesome comedy that fails to mount into a coruscating wave of laughter.
  65. Animal Farm
    There’s a reasonably OK movie somewhere inside Animal Farm, but it’s drowning in ideological confusion, which wouldn’t be such a big deal — one rarely asks children’s cartoons featuring talking pigs to be wellsprings of thoughtful political theorizing — except that this is “Animal Farm.”
  66. My Oxford Year
    Their relationship plays out mostly to set up the film’s second half, but even when things get juicier, Mylchreest and Carson can’t seem to find much chemistry through the flat writing and direction.
  67. Prelude to a Kiss
    This "Prelude to a Kiss" is not only without charm and wit, but it's also clumsily set forth: many people seeing it may wonder what, in heaven's name, is going on.
  68. The Pickup
    Even as they find themselves running out of things to do, each actor hangs on to his or her charisma and manages to land a line every now and then.
  69. The Baltimorons
    The Baltimorons aims for bittersweet rather than wacky. Didi is lonely; Cliff struggles with sobriety. And while the film has clear affection for its Baltimore locations (it’s dedicated to the workers killed when the Key Bridge collapsed in 2024), considerably less thought has gone into creating convincing situations for those backdrops.
  70. The Map That Leads to You
    Ultimately, the romance’s sentimental plotting needs more of Heather’s grounded logic and far less of Jack’s greeting card sayings. She’s much too sensible to lose herself so quickly to his brand of bland.
  71. Eternity
    Sappy and silly, Eternity made me thank heaven for Da’Vine Joy Randolph and John Early as the quick-witted coordinators tasked with guiding our threesome to perpetual bliss. They’re a comic delight, and they aerate a movie that’s most touching when it’s least frantic.
  72. Regretting You
    It’s formulaic and predictable, with goofy writing and clumsy editing. The saving grace is the actors, who manage to perform even the most ridiculous lines with a straight face.
    • 63 Metascore
    • 40 Critic Score
    Three on a Match
    Three on a Match...is both tedious and distasteful.
  74. Dracula
    Jude is an interesting, admirably unorthodox filmmaker who likes to push his viewers. Here, he simply punishes us.
  75. The Road Between Us: The Ultimate Rescue
    It would be easy to dismiss the movie’s perspective as limited and jingoistic, but “The Road Between Us” never pretends to offer more than an in-the-moment chronicle of a violent clash. The bigger problem is that its slickness cheapens the most harrowing recollections.
  76. Eenie Meanie
    While an early, silly death . . . suggests an exuberant self-awareness a la Quentin Tarantino, other scenes, like those that position Edie and John as star-crossed lovers, indicate that this movie’s melodrama takes itself deadly seriously. But it’s hard for the audience to do so in a story that asks us to not merely suspend disbelief, but slaughter it.
  77. Pools
    Rather than being its own entry into the genre, Pools instead is a green director’s hodgepodge emulation of ideas and tricks we’ve seen elsewhere.
  78. Nuremberg
    Evidently, as this muddled movie tells it, the climactic lesson of the Nuremberg trials was that America had a friend, too.
  79. Dead Man's Wire
    When Dead Man’s Wire ends with footage of the real Kiritsis and Hall, it is hard not to conclude that a much crazier, livelier film could have been made.
  80. The Wrong Paris
    While the movie’s production design has considerable mojo — the trappings of a “Bachelor”-style reality show are sharply drawn, and the swimming hole on Trey’s ranch is practically Edenic — the anodyne writing reins in whatever satire one might have expected.
  81. The Hand That Rocks the Cradle
    While De Mornay was chilling as a woman haunted by a miscarriage and her husband’s suicide, Monroe is merely chilly, lumbering like a mopey teenager stuck with reciting unintentionally funny lines that aim for sexy but kill the mood.
  82. People We Meet on Vacation
    Occasionally cute and almost instantly forgettable, “People,” tidily directed by Brett Haley, offers less-than-witty dialogue.
  83. The Black Scorpion
    The back-lot boys working for producers Frank Melford and Jack Dietz have, for the most part, performed an adequate job. As for the human side of the plot, written by David Duncan and Robert Blees, just forget it.
  84. Crime in the Streets
    The production, which Donald Siegel has directed from the screen play of the original author, Reginald Rose, is cramped and flimsy. It matches the rest of the show.
  85. The Man I Love
    The Man I Love is both silly and depressing, not to mention dull.
  86. The Stringer: The Man Who Took the Photo
    Frankly, this hunt isn’t particularly thrilling, despite the premise’s potential to create intriguing parallels between Nghe’s erasure and the exploitation of the Vietnamese people by U.S. forces during the war.
  87. The Damned Don't Cry
    Vincent Sherman's direction is as specious as the script.
  88. Forbidden Fruits
    Though Reinhart and Pedretti chew through the scenery with dedication, the film, directed and written by Meredith Alloway, is a vibes-only pastiche that has little to add to the satirical queen-bee subgenre besides some updated slang.
  89. In Cold Light
    A depressing, downbeat thriller that hustles from one violent act to the next with only the flimsiest of narrative throughlines, the latest from the French Canadian director Maxime Giroux is an unfortunate misfire.
    • 24 Metascore
    • 40 Critic Score
    The Brave
    The movie isn’t terrible, exactly — it’s not good — but it does raise the question: Why?
  91. They Will Kill You
    A case in which a production designer and prosthetics team showed up for work but the screenwriters might as well have crowdsourced their ideas from fanboys.
  92. I Swear
    Jones has turned a life into a hackneyed survivor’s story with cartoon villains, cardboard saints, pretty scenery, mewling piano notes and expedient, drama-goosing epiphanies.
  93. Over Your Dead Body
    Intentionally juvenile humor can have a way of breaking down even the stoniest viewer with the right levels of sincerity and self-awareness, but the film (a remake of the Norwegian thriller “The Trip”) is too slick and giddy about its own crudity to nurture these elements.
  94. Remarkably Bright Creatures
    While being cynical about a wise-octopus movie is probably unfair, being bored by it isn’t great, either.
  95. Dhurandhar The Revenge
    The first installment’s critics might think this sequel further desensitizes viewers to violence along national or religious lines. It’s a movie of the current moment, which isn’t exactly a comfort.
  96. None But the Brave
    IF the threat of Frank Sinatra as a film director is judged by his first try on "None But the Brave," it is clear that there need be no apprehension among the members of the Screen Directors Guild.
  97. When in Rome
    There are dull stabs at verbal wit that leave you baffled, bored or slightly grossed out.
  98. Happy Tears
    Mr. Lichtenstein seems to want your tears. Nothing wrong there. The problem is that, because he never settles persuasively into one groove -- you don’t believe the tears or the smiles or anything in between -- he can’t begin to approach the complex contradictions suggested by his movie’s title.
  99. Nine
    Straining to capture artistic frenzy, it descends into vulgar chaos, less a homage to Federico Fellini’s “8 ½” (its putative inspiration) than a travesty.
  100. Pandorum
    According to the press notes, pandorum means “Orbital Dysfunctional Syndrome”; whatever that is, by the end of the movie I was convinced I had caught it.
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