The New York Times' Scores

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For 20,278 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: 9,380 out of 20278
  2. Mixed: 8,434 out of 20278
  3. Negative: 2,464 out of 20278
20278 movie reviews
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  1. Valley of the Dolls
    It's an unbelievably hackneyed and mawkish mish-mash of backstage plots and Peyton Place adumbrations in which five women are involved with their assorted egotistical aspirations, love affairs and Seconal pills.
  2. The Silence
    The Silence posits a grand evolutionary struggle between mankind and its winged tormentors, but every moment feels like regression.
  3. Tesla Nation
    Mostly, the movie, directed by Zeljko Mirkovic, consists of a barely organized series of interviews with notable Serbs and Serbian-Americans, and name-checks of others.
  4. She's Just a Shadow
    I wouldn’t dare to predict who might cough up admission for this; but if watching prostitutes guzzle Twinkies and swallow handguns is your thing, then by all means come on down.
  5. Phil
    The only thing grimmer than the material in Phil is its execution.
  6. Rad
    The bicycle acrobatics behind the credits at the opening of Rad are so spectacular that you wonder what the movie can do to improve on them. The short answer is, nothing. It's a.ll uphill once the tale gets under way
  7. Surf Nazis Must Die
    Surf Nazis Must Die isn't funny in the slightest, the title notwithstanding. It's a standard, thoroughly stupid gang-war exploitation film intercut with occasional low-energy surfing footage, featuring characters named Adolf, Eva and so on who chant slogans, wear swastikas on their wetsuits and burn surfboards from time to time. Not even the actors' relatives will find this interesting.
  8. Dream a Little Dream
    This is one incoherent movie; I have a hunch that the writers could not figure it out, either.
  9. Halloween Kills
    An indolent, narratively impoverished mess that substitutes corpses for characters and slogans for dialogue.
  10. 10 Minutes Gone
    The title of this movie proves unusually apt: You will figure out its climactic plot twist within the first 10 minutes.
  11. Giants Being Lonely
    Nothing concrete emerges from this haze of oblique editing and barely written scenes, acted by cast members who are not up to making the dialogue sound convincing or filling the voids left in place of their characters.
  12. The Courier
    This is another cinematic slab of sound and fury signifying nothing.
  13. Blonde
    If Dominik isn’t interested in or capable of understanding that Monroe was indeed more than a victim of the predations of men, it’s because, in this movie, he himself slipped into that wretched role.
  14. Bolero
    The plot sounds like that of a straight porn film, which is what Bolero would have become with anyone other than John Derek directing. Mr. Derek, who also wrote the screenplay, shows off his wife in an oddly self-contradictory way. He's glad to flaunt her tanned torso and her radiant smile, which is fortunate, since these are the movie's only assets.
  15. Coffee & Kareem
    The buddy cop movie genre is by all means worth interrogating as conversations around institutional racism and police brutality continue. But this film’s jabs are dull and sophomoric.
  16. Tape
    Tape, in short, is a terrible movie about appalling behavior.
  17. Clover
    It’s chock-full of gore and expletive-laden banter, but lacks the key ingredients to make it worthy of its influences: original ideas and a strong script.
  18. Blue City
    Blue City is full of unbelievable, ineptly staged action sequences. It's most offensive, however, for its dialogue, and for the frivolous way it debases the shock value of obscene words. If, in 10 years, we wind up with an utterly colorless language, movies like this will have been at least partly to blame.
  19. Capricorn One
    An expensive stylistically bankrupt suspense melodrama.
  20. Fatal Affair
    There is so much recycled material in “Fatal Affair” that its carbon footprint must have been zero.
  21. Half Brothers
    The movie clearly intends to send a serious message about how draconian immigration policies tear families apart. But a hard-hitting drama would be preferable to this strenuously wacky bromance.
  22. Black Adam
    If, as the credits roll for Black Adam, you’re still stuck wondering what defines a bad hero or a good antihero, know that at least the film clarifies one thing: What makes a bad hero movie.
  23. Faith Based
    Pity, or prayer, couldn’t change the fact that Faith Ba$ed is abysmally unfunny.
  24. Loaded Weapon 1
    Watching Loaded Weapon 1 is like playing Trivial Pursuit with experts. It's exhausting.
    • 26 Metascore
    • 20 Critic Score
    Empire of the Ants
    The human's fright is seen as play acting, and the account of their progress over a gory trail is slow and repetitive. And, aside from some multifaceted ant's-eye views of humans, the special effects are artificial and unexciting.
  26. Music
    This is a bizarre movie, one that parades confused ideas about care, fantasy and disability with a pride that reads as vanity. It is audacious, in the sense that making it certainly took some audacity.
  27. Bloody Hell
    It’s a buffet of only sour dishes, a rank fete of foulness.
  28. Hocus Pocus
    Apparently too much eye of newt got into the formula for Hocus Pocus, transforming a potentially wicked Bette Midler vehicle into an unholy mess. That's too bad, since Ms. Midler's appearance in a role like the one she has here could have been pure witchcraft.
  29. Silk Road
    In many respects, Silk Road is an excellent examination of why you should probably never date, or maybe even socialize with, a libertarian. It comes up short in almost every other way, though.
  30. The Marijuana Conspiracy
    Wise viewers will not be expecting an action movie, but The Marijuana Conspiracy is worse than inert: It’s shallow and tone-deaf. Attempts to highlight the sexism and discrimination of the time are either embarrassingly awkward or troublingly facile.
  31. The January Man
    The January Man is well titled. It's a big-budget mainstream production that, in spite of its first-rate writer, director and cast, manages to fail in just about every department.
  32. Thunder Force
    Thunder Force, the latest in a string of dismal comic collaborations between Melissa McCarthy and her husband, Ben Falcone, does nothing to improve upon its predecessors.
  33. Pink Cadillac
    It is the laziest sort of action comedy, with lumbering chase scenes, a dull-witted script and the charmless pairing of Mr. Eastwood and Bernadette Peters.
  34. Millennium
    The movie is so inept in almost every particular that even its love scenes, when a grimacing Kris Kristofferson mashes his grizzled face against an impassive Cheryl Ladd, are likely to produce giggles.
  35. Demonic
    Flat acting, risible dialogue, a witless story — sometimes when a movie hits this trifecta so completely, it engenders a feeling of disreputable pleasure. It’s bad, and you know it, and maybe the filmmakers know it too.
  36. Silo
    If Burnette’s formal instincts are suboptimal — the pervasive backlighting and underlighting keep much of the action in shadow — his dramatic instincts are worse.
  37. Eat Wheaties!
    An unfortunate, unfunny mess.
  38. The Scary of Sixty-First
    There were moments during The Scary of Sixty-First when I was convinced I was watching a botched horror-comedy. But while this witless slurry of onanism and conspiracy theories is certainly laughable, it is never, for one second, even remotely funny.
  39. Hardware
    Hardware is a sci-fi-horror film of such dopiness that it seems certain to become a cult classic somewhere. Movies that are so insistently silly often have the effect of seeming to expand the mind after midnight, which may have something to do with metabolism if not with controlled substances.
  40. Awake
    There is no getting around it: Mark Raso’s Awake is bad. But at least it’s so bad that it’s often ludicrously laughable: Netflix may well have a cult turkey on its hands.
  41. American Traitor: The Trial of Axis Sally
    This is a plodding and ultimately infuriatingly noncommittal movie.
  42. The Car
    The performances are terrible—thin and overwrought in the manner of actors trying to improvise without an idea in their heads.
    • 33 Metascore
    • 20 Critic Score
    Last Resort
    It's a kind of twisted Alice in Wonderland - without Alice, without imagination and most certainly without wonder.
  44. Some of Our Stallions
    No equine beasts adorn this queasy comedy. Too bad.
  45. Midnight in the Switchgrass
    The atmosphere is thoroughly sleazy without being distinctive, and everything about the movie — the emotionless line readings, the half-baked back stories — exudes a terse functionality.
  46. Smokey and the Bandit Part 3
    An interminable car chase punctuated by dumb stunts and even dumber dialogue, plus the well-worth-missing sight of Paul Williams in a dress.
  47. American Sausage Standoff
    What ensues when Edward and the town’s reactionaries clash cannot be properly called hilarity, and the end product of this dismal film is mostly befuddlement.
  48. Voyage of the Damned
    Movies as clumsy, tasteless and self-righteous as this are worse than merely boring. By exploiting the tragedies of real people, some wildly fictionalized, The Voyage of the Damned attempts to turn them to profit without giving them any measure of the respect that is due.
  49. The Starling
    Blatant product placement, unconvincing bird effects and awful soundtrack selections all undermine a potentially wrenching, difficult premise with utter bogusness.
  50. Damnation Alley
    The only real value of Damnation Alley is educational: This is the movie to see if you don't understand what was so wonderful about the special effects in, say, Star Wars.
  51. Distancing Socially
    It’s fine that nothing major happens in this charmless quaran-com; it is concerning, however, that neither the audience nor the actors, sitting stiffly behind their screens, are given reason to care.
  52. Pharma Bro
    Hodge is not always on Shkreli’s side, but he appears convinced he’s made a well-rounded portrait, as opposed to a dubious, bottom-feeding, bro-to-bro testimonial.
  53. Home Team
    It’s yet another comedy of indignities — sorry, make that inanities.
  54. The In Between
    This mawkish plot might be tolerable if its characters were more likable; instead, they are pretension personified.
  55. 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.
  56. Asking for It
    Subtle as a sledgehammer and shallow as a saucer, Asking for It is painted in such broad strokes that — with just a smidgen of humor — it would pass for satire.
  57. Hell is Empty
    Forget about hell, the emptiness these filmmakers must address lies primarily in their predominantly female cast of characters.
  58. Playing in the FM Band: The Steve Post Story
    The documentary posits him as a pioneer but struggles to pin down how he was unique.
  59. Memory
    It plays as if the worst episodes of “Law and Order: Special Victims Unit” have all been processed in a blender and then stretched to nearly two hours long.
  60. Black Site
    Perhaps the most depressing thing about Sophia Banks’s Black Site — a dreary, underwritten thriller — is an ending that suggests a sequel might already be in the works. For the sake of its beleaguered star, Michelle Monaghan, I can only hope not.
  61. Gang Related
    Gang Related is a preposterously overplotted tale of two police detectives with moral compasses so defective that they have buried their brains and consciences along with 10 of their murder victims long before the film even begins.
  62. The Lost Girls
    Those poor viewers willing to take on this Freudian tale and its dialogue rivaling “The Room” must brave a ludicrous slog for crumbs.
  63. Beast
    It has a few scattered laughs, some apparently intentional. But this is thin, unimaginative hack work, and it lacks the deranged seriousness and commitment that distinguishes a pleasurable misfire from bland dreck like this. It is, I am sorry to say, no “Gods of Egypt.”
  64. Black Sheep
    The two-minute trailer for Black Sheep is so crammed with pratfalls that it appears funny. But a full hour and a half leaves this comedy looking one-note and virtually laugh-free...This may sound like a John Belushi role, but Mr. Farley has little of Mr. Belushi's gift for sneaky, subversive mischief. He spends his time here just getting his thumbs caught in a car's hood, being dragged on his stomach until sparks fly, etc. Almost all the film's jokes involve physical pain.
  65. Celtic Pride
    Celtic Pride has ingredients that could have made for a tough knockabout farce. Unfortunately, the film, directed by Tom De Cerchio from a screenplay by Judd Apatow, doesn't know the meaning of the term "light touch.
  66. Slumberland
    Overall this remarkably glum, logy, convoluted and unengaging movie has only a vestigial relation to McCay’s work. McCay fans should beware. So should everyone else.
  67. Matriarch
    Matriarch opens by watching a nude figure descend into a pond of black muck, but the slog that follows in this derivative, tar-flow-paced thriller from Britain is strictly for the viewer.
  68. The Garfield Movie
    It’s a Garfield movie that strangely doesn’t feel as if Garfield as we know him is really there at all.
  69. Trespass
    With the exception of a running gag about the gangsters' use of cellular telephones, the film is singularly humorless. Though full of the kind of simulated violence achieved by special-effects artists, it's not too heavy on suspense. Everything in the screenplay seems arbitrary, including the firefighting jobs assigned to the two would-be treasure-seekers.
  70. Falling for Christmas
    If this is the standard we’re dealing with, I’d rather have amnesia.
  71. Christmas with You
    Weather seems to exert an only intermittent influence in this insipid holiday love story, directed by Gabriela Tagliavini and set in the run-up to Christmas — at least in theory.
  72. Winnie-the-Pooh: Blood and Honey
    It’s not funny enough to have anything clever to say about its gag, and it’s not exciting enough to be a competent horror movie.
  73. Dog Gone
    Even viewers with a tolerance for this kind of saccharine cinema — oversaturated green grass, slow-motion sprinting, kindly biker gangs, and a fleeting bar squabble in which the nastiest insult is “Idiot!” — will likely say their favorite part is the end credits.
  74. The Old Way
    While it’s true that a certain tepid aspect is common to most B westerns, those of the ’30s and ’40s were made with a baseline competence that The Old Way is woefully lacking.
  75. Back to Black
    That a movie messes with the historical record a little doesn’t automatically make it bad. But in Back to Black the omissions feel downright weird, as if something is being ignored.
  76. Space Oddity
    Serious subject matter aside, the movie is as bogus as Alex’s prospects of being an astronaut.
  77. Extraction 2
    Burdened by its bluster, Extraction 2 is merely a loud, blithering mess masquerading as fulfilling escapism.
  78. Mafia Mamma
    Trite, charmless and entirely without grace, Mafia Mamma weaves a wearying string of Mob chestnuts into a shallow empowerment narrative.
  79. The Last Kingdom: Seven Kings Must Die
    The compositions lack clarity, the score of undulating voices is comically clichéd and the visual effects are a dingy, nauseating mess. There are no stakes in a film that not only takes seven royal lives — it snatches several brain cells with them.
  80. AfrAId
    This scenario’s predictability could be forgiven were the movie effective on any level, but it just isn’t, from Cho and Waterston’s wooden performances to jump scares that would not startle Scooby-Doo.
  81. Next Goal Wins
    Bland photography and perfunctory writing are the very least of my issues with Next Goal Wins, a movie-shaped stain on the class of entertainment known as the sports-underdog comedy.
  82. Argylle
    It is ostensibly a tribute to spy movies of an earlier age, not clever enough to be a spoof and certainly not satire. But a homage shows affection for, understanding of and respect toward the thing it is honoring. Argylle feels pasted together by a robot manipulating some kind of spy Magnetic Poetry.
  83. Marmalade
    In essence, Marmalade pretends to be more dunderheaded than it is, then acts as if it’s been smart all along, in a shift that takes it from insulting to incoherent.
  84. Code 8: Part II
    In the end, even genre fans with relaxed standards might try to similarly rebel against this insipid offering.
  85. Red One
    It’s all a particularly egregious piece of commercial slop — just a little too expensive and passable to qualify for being so bad it’s sort of fun.
  86. J.D.'s Revenge
    J.D.'s Revenge crosses the line from a stupid movie to a potentially harmful one.
  87. The Electric State
    Whereas the book is elliptical in narrative, muted in color palette and melancholy in mood, the movie is obvious, garish and just plain dumb.
  88. 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.
  89. Hurry Up Tomorrow
    Underneath the blinding lights, the Weeknd has always told us, is a hollow core. In that regard, the movie has mirrored the music.
  90. The Martial Artist
    Though Pakistan is filmed with a sense of grandeur, Ibby’s return to his cultural roots is rushed and superficial. Khan’s lack of screen presence, toothless mixed martial arts sequences and unintelligible editing further knock the film down.
  91. 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.
  92. 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.
  93. 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.
  94. Psycho Killer
    When it comes to this Dumpster’s worth of horror nothingness, that’s the inescapable question, translated into English: What is it?
  95. Leap Year
    What makes Leap Year so singularly dispiriting is precisely that it is bad without distinction -- so witless, charmless and unimaginative that it can be described as a movie only in a strictly technical sense.
  96. The Idiots
    Has nothing on its mind besides the squirming discomfort of its audience, the achievement of which it holds up as a brave political accomplishment.
  97. Couples Retreat
    An R-rated version of this mess would be only more gratingly dishonest as it tried to hide its weak sentimentality behind a fig leaf of vulgarity.
  98. Everybody's Fine
    The queasiness produced by this sentimental weepie builds into a wave of nausea during its interminable finale.
  99. G.I. Joe: The Rise of Cobra
    This pricey, juiceless pulp could never have been killed by critics, simply because it was already dead.
  100. Bride & Prejudice
    As high concept and rife with cliché as anything ever churned out by Hollywood, but with worse production values and a load of sanctimonious political correctness.
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