The New York Times' Scores

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For 20,336 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: 9,413 out of 20336
  2. Mixed: 8,455 out of 20336
  3. Negative: 2,468 out of 20336
20336 movie reviews
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  1. Melody Makers
    [A] hardly epochal but largely pleasant documentary.
  2. The People Under the Stairs
    Though the new movie has its share of blood and gore, it is mostly creepy and, considering the bizarre circumstances, surprisingly funny.
  3. The Call of the Wild
    This “Call of the Wild,” however defanged and updated, doesn’t lack for exciting canine brawls or tense rescues from frozen waters. It also doesn’t lack for an almost soothing corniness.
  4. Defending Your Life
    Within the larger context of the Brooks oeuvre, this pleasantly mortifying arrangement makes perfect sense. [22 Mar 1991, p.C12]
    • The New York Times
  5. The Willoughbys
    Though it tends to feel disjointed as a whole, The Willoughbys thrives when it embraces its grim plot and lets mischief reign.
  6. Cavale
    As a trio, Viance, Zaghouani and Pellizari are bright and full of energy, and Gourmel allows their scenes together to play with improvisational looseness. Their vivacity lends purpose to the entire film.
  7. Three Christs
    Whether it is the star power of the cast or the seductiveness of the period recreation, Three Christs has an appealing professionalism — an odd fit for a film about challenging a profession.
  8. Pom Poko
    Its ecological concerns, nuance and occasional lyricism place it squarely within the Ghibli oeuvre but not among its masterpieces.
  9. Little Women
    If anything, it has hauled back much too briskly on the strings of the heart and has strained a few muscles in the process.
  10. Blood In, Blood Out
    Bound by Honor looks and sounds authentic but, like many community wall paintings, it has the manner less of one artist's vision than of a community endeavor. This may explain its singular shortcomings and its redeeming sincerity.
  11. The Good Son
    The Good Son has a handsome, scenic look that sustains interest, and a suspenseful ending that is quite literally gripping. The film's final scene is one of its few suspenseful and original moments.
  12. Free Guy
    Free Guy has charm, but there’s not much memorable in the same old quest, same old boss fight, then game over.
  13. Reflections in a Golden Eye
    The shame of it is that this conclusion is so anticlimactic and banal, because there is so much in the picture that seems to be leading to -- certainly prepares us to expect -- much more.
  14. The Matrix Resurrections
    The actors’ sincerity and effortlessly synced performances have always been this series’ greatest special effects, and watching them slip back into their old roles is a pleasure. The movie they’re in is still as beholden to the same old guns and poses as the earlier ones, the same dubious ideas about what constitutes coolness, the same box-office-friendly annihilating violence. But it’s still nice to dream of an escape with them.
  15. The Europeans
    The Europeans isn't simply pretty, it's so relentlessly pretty it becomes almost boring to watch.
  16. Judgment Night
    A tight, energetic sleeper in the action-adventure genre, manages to pack a few anti-machismo sentiments into an otherwise brawny tale.
  17. The Roads Not Taken
    Potter delivers her vision here in a form that’s perhaps too raw, too undistilled. There’s precious little lightness negotiating with the dark. Her lack of compromise is, as always, admirable — as is her way with actors.
    • 49 Metascore
    • 60 Critic Score
    Where the Red Fern Grows
    There is nothing pretentious or particularly ambitious about Where the Red Fern Grows, but it is a nice film about a boy and his dogs in a peaceful time long ago. [17 Mar 1985, p.28]
    • The New York Times
  19. Corpus Christi
    The idea that a charlatan might offer more solace than a real priest is a trite concept, but it’s one that Corpus Christi portrays with conviction. The movie rests on the shoulders of Bielenia — or rather, in his eyes, which photograph as a chilling gray.
  20. Those Who Remained
    Those Who Remained leaves much unsaid about their pasts, sometimes at the risk of seeming coy (the word “Jewish” is never spoken). But Hajduk and Szoke are strong performers.
  21. Bloodshot
    Bloodshot runs out of meta tricks before it is over, and David S.F. Wilson, who borrows his visual vocabulary from Tony Scott and Michael Bay, delivers action sequences with such choppy continuity that viewers may be as confused as Ray. He deserves bonus points, however, for embracing silliness.
  22. Quigley Down Under
    The director, Simon Wincer, makes Quigley Down Under an unapologetic homage to the formula western at its most pokey, complete with Wagon Train-style score. All things considered, this could be a lot worse.
  23. Men at Work
    A good-natured lowbrow farce about two southern California garbage men who dream of opening their own surf shop.
    • 61 Metascore
    • 60 Critic Score
    All the Bright Places
    Theodore’s story line is not always handled with the depth it should receive. It’s an unfortunate flaw in a film that impressively balances moments of joy with equally resonating despair.
  25. Raya and the Last Dragon
    The unity rhetoric feels awfully trite, but it also teaches forgiveness: a worthy lesson for the kids.
  26. Charm City Kings
    The dirt bikes and their exuberant operators are the saving grace — and joy — of the sincere if overstuffed drama Charm City Kings.
  27. Graffiti Bridge
    Prince's direction is on a par with his acting, roughly equivalent to his aptitude for Presidential politics. Nonetheless, the film has a lively style, a galvanizing score and some dance numbers in which the star truly shines.
  28. News of the World
    This isn’t a bad movie. The problem is that it’s too nice a movie, too careful and compromised, as if its makers didn’t trust the audience to handle the real news of the world.
  29. Heimat is a Space in Time
    Despite some tedious passages, Heimat Is a Space in Time takes an intriguing approach to history that remains refreshingly rooted in primary sources.
  30. The Fight
    If the filmmakers succeed in wringing drama from decisions that have already come down, their efforts at character development are hit-and-miss.
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