The New York Times' Scores

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For 20,335 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: 9,412 out of 20335
  2. Mixed: 8,455 out of 20335
  3. Negative: 2,468 out of 20335
20335 movie reviews
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  1. The People We Hate at the Wedding
    Underneath the plentiful high jinks in its physical-comedy-heavy scenes, The People We Hate at the Wedding ends up being a poignant enough good time that celebrates imperfect yet endearing familial love.
    • 72 Metascore
    • 70 Critic Score
    The Guns of Navarone
    Even though the picture runs more than two hours and a half, it moves swiftly and gets where it is going. J. Lee Thompson has directed it with pace and has seen to it that the actors give the impression of being stout and bold.
  3. The Black Phone
    In place of gouting gore and surging fright, this enjoyable adaptation of Joe Hill’s 2005 short story has an almost contemplative tone, one that drains its familiar horror tropes — a masked psychopath, communications from beyond the grave — of much of their chill. The movie’s low goose bump count, though, is far from ruinous.
  4. The Harvey Girls
    It may be a rather lofty tribute to Fred Harvey's girls, but it's a show.
  5. Sweetheart
    To the film’s credit, the central relationship remains realistically drawn — a teenage courtship that’s marked by misunderstandings and mood swings. The characters aren’t always sweet, but they never feel phony.
  6. Bulletproof
    What this admirably hands-off film shows is how the feelings of anxiety that have surrounded school shootings have been monetized and translated into demand for consumer products. It is a nightmarish vision — the military industrial complex deployed in the halls where children ought to roam.
    • 71 Metascore
    • 70 Critic Score
    Dead & Buried
    Fairly standard and cynical stuff, with enough threatening incidents to satisfy the most jaded horror-film buff.
  8. Held for Ransom
    Should you be willing to overlook certain intrinsic difficulties, Held for Ransom is a surprisingly thoughtful hostage drama given the blunt meatheadedness of its title.
  9. All About My Sisters
    A film bristling with the kind of familial rancor that usually only emerges behind closed doors.
  10. Bull
    The film’s rejiggered timeline is a little hard to follow, but the climax swings for the fences and shows an unashamed verve for tale-telling that warms the cockles.
  11. How They Got Over
    With a trove of archival performance footage, much of it from the television show TV Gospel Time, and the wisdom to let those images breathe, the film leans into the maxim about showing not telling.
  12. The Phantom of the Open
    A different actor than Rylance might have revealed the slight darker, impostor wrinkles of the tale. Instead, his character, an unflummoxed optimist, shares some of the same cheery qualities as Ted Lasso.
  13. Learning to Live Together: The Return of Mad Dogs & Englishmen
    Here the now-elders seem delighted to make a joyful noise with the generations they influenced.
  14. Warning
    Together, these tales feel like the hangover at a wake for mankind. The film’s dusky pastel color palette recalls dying flowers on a grave. Yet, even as the synth score mutters anxiously in the background, Alexander takes a prankish delight in her own doom and gloom.
  15. Buffalo Bill and the Indians, or Sitting Bull's History Lesson
    In place of narrative drive it relies, on the momentum created by ‐ its visual spectacle, its prodigal way with ideas, its wit and its enthusiasm for the lunatic business of making movies.
  16. Flesh and Bone
    Most of what keeps Flesh and Bone so gripping is the ways in which the characters themselves evolve.
    • 66 Metascore
    • 70 Critic Score
    The Reivers
    Mark Rydell's direction conveys a zestful spirit, as do the film's turn-of-the-century look and picaresque minor characters.
  18. Scream of Fear
    Though clearly influenced by Alfred Hitchcock's 1960 Psycho, Scream of Fear is closer to Orson Welles in its baroque visual design and delight in style for style's sake. [21 Oct 2008, p.C4]
    • The New York Times
  19. Joy Ride
    Some of the material feels fairly standard, as they share misfit upbringings and showbiz gossip, but each veteran comedian lends an unpredictable element through self-deprecating candor.
  20. Roh
    Symbolism overshadows characterization, or any sense of motive for that matter, nevertheless Roh succeeds as a spine-tingling baffler, hitting at nerves we can’t quite articulate but feel all the same.
  21. Made in America
    Seeming warmer and more comfortable in this antic comedy than she has before, Ms. Goldberg is helped not only by the right co-star but also by the right role.
  22. The Outsider
    The Outsider is vivid even if it isn't much of a character study, and energetic even though it's often clumsy.
  23. That's Entertainment! III
    With the best material used up, That's Entertainment! III cleverly focuses on outtakes, unfinished numbers and behind-the-scenes glimpses of the old musicals. This results in a lively and funny compilation of curiosities suggesting what might have been.
  24. 'Twas the Fight Before Christmas
    If your holiday dinner table sees some heated arguments this year, just be glad if it doesn’t result in an actual melee, with armed standoffs in front of a blow-up Santa Claus.
  25. Posse
    Mr. Van Peebles and his screenwriters, Sy Richardson and Dario Scardapane, care most about making their points emphatically, even if that sometimes leaves Posse riding heavy in the saddle. Luckily, most of their film is fast-paced and star-studded enough to avoid an overly preachy tone.
  26. This Is Not a War Story
    This Is Not a War Story, which Lugacy also directed, is a naturalistic, chat-heavy narrative that captures the difficulties wrought by the unimaginable trauma individuals face as they attempt to forge connections and find peace after war.
  27. The Body Snatcher
    This new gloomlodger, though not as nerve-paralyzing as the performers might lead you to expect, has enough suspense and atmospheric terror to make it one of the better of its genre.
  28. Burning
    The director, Eva Orner (“Chasing Asylum”), makes her contribution to documentaries on climate change by sticking to Australia and underlining the visceral impact on Australians. It’s hellish: red skies and dark days, fear and helplessness, pregnancy complications and death.
  29. Don't Be a Menace to South Central While Drinking Your Juice in the Hood
    A free-for-all comic spoof that brings the "hood" genre of Hollywood films full circle. Crude and chaotic, the movie stridently stands every serious theme and anguished emotion from those two groundbreaking films on its ear. [13 Jan 1996, p.21]
    • The New York Times
    • 42 Metascore
    • 70 Critic Score
    The Magic Christian
    A superb realization of the book.
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