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. Phoenix, Oregon
    It’s all a bit uneventful, but it works as an endearing portrait of average life: sometimes up, sometimes down, but moving steadily along.
  2. High Spirits
    Luckily, High Spirits has a good cast and enough joie de vivre to rise above some of its underlying clumsiness.
  3. Black Moon Rising
    The film sounds pretty silly, and it is, but it's not painful to watch. Harley Cokliss, the director, and John Carpenter, Desmond Nakano and William Gray, who wrote the screenplay, never allow credibility to worry them, or even those of us in the audience. Like a stolen car, it moves pretty fast, if erratically. It has a tendency to put Quint into impossible situations from which he walks away with unexplained ease.
  4. Malignant
    None of this is especially scary, but, if you’re patient, Wan delivers the kind of hilariously sick climax that only a sadist would spoil. Or envisage.
  5. I Wanna Hold Your Hand
    Some routines work a lot better than others, but the whole film sparkles with a boisterous lunacy that's perfectly in keeping with the frenzy of the fans.
  6. Blue Story
    The film has a powerful sense of place, with details that feel authentic and, in some cases, lived through. Yet Rapman’s civic-minded lyrics (“There really ain’t no winners when you’re playing with them guns”) have a habit of reducing the drama to tidy morals.
  7. Lady Jane
    At the very least, Lady Jane ought to summon more emotion than it does. But the early part of it is so reserved, and the latter part so incongruously fulsome, that it never manages to draw any deep response - not even when a beheading costs the hapless young Jane her luxuriant, Brooke Shields-like hair.
  8. Flashpoint
    Mr. Tannen's strength is his ability to grab his audience's interest quickly and to hold on to it, even by the most superficial means. Even when the movie doesn't entirely make sense, it manages to be effective.
  9. Train to Busan Presents: Peninsula
    Here, after the gunfire dies down, terror at times gives way to a melancholy that can be quite affecting even if the message remains familiar: We have met the zombie, and it is us.
  10. LA Originals
    Way too much of LA Originals has that overly chummy vibe, but the shambling, yearbook quality of the film is also its reason for being.
    • 55 Metascore
    • 60 Critic Score
    The Last Hard Men
    The Last Hard Men is not just a horse opera; it's practically Tristan and Isolde. Only the love-death relation isn't between a man and a woman but between a retired lawman and a halfbreed Navajo who is obsessed with the notion of killing him.
  12. The Legend of Swee' Pea
    As absorbing as The Legend of Swee’ Pea is, it might have been even better if May had pulled back the curtain more on his off-camera interactions with his subject
  13. Dungeons & Dragons: Honor Among Thieves
    After a decade in development, the project that made it to the screen is a noisy, pixelated smash-and-zap that does manage to capture the spirit of play.
  14. Intrigo: Samaria
    Fox is riveting as a stubborn go-getter who often employs morally questionable methods for the sake of truth and art. But her screen presence isn’t enough to fill out this lean thriller, which hits so many cliché beats along the way.
  15. Blood Quantum
    Unfortunately, the film emulates many of its genre brethren’s inability to convert a promising start into a solid second act. . . . though a haunting finale almost redeems the flabby midsection.
  16. The Paper
    Beyond letting its characters talk fast, use jargon and interrupt each other, "The Paper" misses most of the genre's real flavor. Its progress is methodical and sane.
  17. Becoming
    It hits all the notes of a megastar choosing to share her life with the public: selective biographical moments and star-studded guest appearances, plus a healthy dose of motivational messaging about the virtues of education and the holistic ownership of personal narratives.
  18. Phantom of the Opera
    To be sure, the production is elegant. Settings and costumes are superfine and, photographed in technicolor, they all mawe a lavish display. But that richness of décor and music is precisely what gets in the way of the tale.
  19. Ron's Gone Wrong
    As family entertainment, it’s fine.
    • 65 Metascore
    • 60 Critic Score
    Aviva
    Pride in frank eccentricity pushes at times into the unintentionally absurd. Still, it’s exciting how these dance sequences are treated like any other scene, and disappointing when the compulsion to justify them takes hold.
  21. Amulet
    This is Garai’s feature directing debut, and it is as satisfying as it is promising, despite an unfortunate wind down. She has a great eye — and a real feel for the power of silence and visual textures — but she stumbles when she explains too much.
  22. And We Go Green
    [A] cheery, lightweight documentary.
    • 70 Metascore
    • 60 Critic Score
    Now, Voyager
    For all its emotional hair-splitting, it fails to resolve its problems as truthfully as it pretends. In fact, a little more truth would have made the film a good deal shorter.
  24. Pat and Mike
    It is smoothly directed by George Cukor and slyly, amusingly played by the whole cast, especially by its due of easy, adroit, experienced stars.
  25. The Audition
    Hoss’s work is impeccable and illuminating, and the movie’s foursquare, frank, brisk approach is salutary. But its final scenes lean into triteness and frustrating evasiveness, which makes the picture a less than entirely satisfying experience.
  26. The One and Only Ivan
    Mostly The One and Only Ivan consists of fairly standard Disney lessons, about the hardships of losing parents (real and surrogate) and how difficult it is to embrace change.
  27. Psychomagic, A Healing Art
    Jodorowsky’s patients express gratitude and relief. But there has to be an easier way to alleviate stuttering than rubbing red dye on your genitals, putting on gold lamé hot pants, being body painted and walking the streets of Paris talking to oneself.
  28. The Naked City
    There are countless more fascinating facets to this city than the work of cops with crime and countless more striking characters in it than genial detectives and mumbling crooks. However, within that range of interest, Mr. Hellinger has done a vivid job in this, his appropriate valedictory, which comes to you spontaneous and unrehearsed.
  29. Michael Jackson's Journey from Motown to Off the Wall
    What it resembles more than anything is a deluxe extended episode of a television music-biography series like “Unsung” (or “Behind the Music” minus the scandals).
    • 70 Metascore
    • 60 Critic Score
    The Bellboy
    A generous—some might even say gratuitous—proportion of the anecdotes are devoted to mild shaggy dog jokes, with a subdued audience chuckle as the kindest response. Mr. Lewis' devotees may find the comedian disappointingly restrained.
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