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. Chain Reaction
    Unlike ''The Fugitive,'' which had tremendous dramatic urgency, this film isn't clear enough to build suspense that escalates from scene to scene...A lively look and some frantically inventive action scenes generate energy, even if the gimmicks do have an edge of desperation. Mr. Davis churns out vigorous excitement inside the working of a drawbridge, in a science museum, in a secret bunker and on a frozen lake.
  2. All Man: The International Male Story
    Admittedly, the film is more dutiful than artful, ticking one box after another, a tendency that is especially obvious when it ventures to the dark side of paradise (the ravages of AIDS on employees and customers, the lack of diversity among the catalog models).
  3. We Are Living Things
    Antonio Tibaldi’s cool and atmospheric We Are Living Things posits in original if not always fully formed ways: Refugee life is often a choice between competing probabilities, a state of permanent ambiguity.
  4. Escape from Kabul
    Escape From Kabul is a short-term recap. A more robust movie, following these witnesses over several years, is still waiting to be made.
  5. One Fine Day
    One Fine Day makes for sunny, pleasant fluff. Both stars are enjoyably breezy, and there's enough chemistry to deflect attention from the story's endless contrivances. The screenplay by Terrel Seltzer and Ellen Simon is full of energetic wisecracks. But it's jokey rather than actually funny most of the time.
  6. Kirikou and the Sorceress
    It's more a piece to admire than to be involved by, yet it's easy to imagine children hypnotized by a hero tinier than they are when "Kirikou" is continually loaded into the VCR.
  7. I Used to Be Famous
    It’s all pretty predictable . . . This has the effect of making the finale, which actually takes an exit ramp off triumphalist clichés, genuinely surprising.
  8. Sidney
    The inescapable impression is of a picture buckling beneath the weight of its subject’s achievements. Yet there are moments when the focus shifts and the movie shrugs off its hagiographic shackles.
  9. About Fate
    It would all be pretty boilerplate, but Mann’s anchoring appeal — his lean into Griffin’s modesty and decency — saves the movie from a sorrier fate.
  10. El Tiempo Perdido
    You couldn’t ask for richer reading material, even if the film doesn’t quite live up to the promise of its premise.
  11. Hellraiser
    As an ambitious allegory for the chaos and torment of addiction, Hellraiser works mainly because of A’zion, who gives her scattered character a deeply human desperation.
  12. Confess, Fletch
    Getting peeved at Mottola and Hamm’s easygoing efforts would be like getting mad at a cat for sleeping too much.
  13. Another Thin Man
    This third of the trademarked Thin Men takes its murders as jauntily as ever, confirms our impression that matrimony need not be too serious a business and provides as light an entertainment as any holiday-amusement seeker is likely to find.
  14. Luckiest Girl Alive
    Kunis’s alpha female appears at once ferocious and like a conspicuous sham. (Imagine Sheryl Sandberg as a “Scooby-Doo” villain.) Her performance carries the film — a fortunate break for the director Mike Barker, who has the near-impossible challenge of shepherding the tone from snark to painful sincerity.
  15. The Good Nurse
    In the judgment of the film, Cullen is just a side effect of an institutional cancer.
  16. All Quiet on the Western Front
    Berger has more tools at his disposal than Milestone did with the challenges of the early sound era, yet those advantages somehow make this update less impressive: The magnification in scale and dexterity lends itself to showing off. Still, the movie aims to pummel you with ceaseless brutality, and it’s hard not to be rattled by that.
  17. How to Blow Up a Pipeline
    How to Blow Up a Pipeline is at its best when it functions as a kind of roughed-up caper movie; it has a degree of suspense and efficiency that are becoming all too rare in the mainstream.
  18. Lady Chatterley's Lover
    Magee and Clermont-Tonnerre’s adaptation emphasizes the romance of Lawrence’s book over the radicalism of his vision. This Lady Chatterley’s Lover is faithful to the novel, while also revealing how safe, how domesticated, it has become.
  19. We Are As Gods
    We Are as Gods is a mildly interesting documentary about a very interesting man.
  20. Squaring the Circle (The Story of Hipgnosis)
    Squaring the Circle is slick and enjoyable enough, but it is also, like the company it chronicles, something of a boutique item, and the reminiscences grow faintly monotonous after a while.
  21. Mufasa: The Lion King
    The overall results are generally pretty, mildly diverting, at times dull and often familiar, despite a few unusually sharp, brief departures from Disney’s pacifying formula.
  22. Butcher's Crossing
    It’s a mostly well-crafted film with decent visual scope. The film’s greatest flaws are in Cage’s shakily written character.
  23. What's Love Got to Do with It?
    A glossy lesson in how to pour nontraditional content into a traditional rom-com mold, Shekhar Kapur’s What’s Love Got to Do With It? shapes competing notions of happily-ever-after into comfort food.
  24. Missing
    Missing captures the constant distractions of the modern age. Pop-up windows continually tug at June’s attention. However, the film’s more engaging moments tap into the older cyber nostalgia of text-based adventure games from the 1970s, where problems are solved by typing the right command.
  25. Magic Mike's Last Dance
    Hayek Pinault and Tatum have a tantalizing chemistry, but the script doesn’t always help them activate it.
  26. Knock at the Cabin
    For all its skill and cunning, Knock at the Cabin is an overwrought quasi-theological melodrama that also manages to be a half-baked thought experiment. It’s a thrill ride in a toy trolley.
  27. Eternal Spring
    While the animation gives the documentary some distinction, the narrative can’t entirely shake the sense that this momentous but brief episode is scaled more for a short than a feature.
  28. Deadpool & Wolverine
    Deadpool & Wolverine is a “Deadpool” movie, which means it’s rude and irreverent, funny and disgusting, weird and a little sweet. Reynolds and Jackman are fun to watch, in part because their on-screen characters contrast so violently with their nice guy personas off screen.
  29. InHospitable
    InHospitable is a decent advocacy documentary that compellingly argues a couple of points that aren’t easy to make compelling onscreen.
  30. Nicholas and Alexandra
    The problem with "Nicholas and Alexandra" is not inflation, but deflation, the attempt to cram too big a picture into too small a frame.
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