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. Strange Harvest
    The film is naturalistic enough to be convincing and sick enough to be disturbing, even if the acting falls scattershot on the persuasiveness scale.
  2. The Bibi Files
    Beyond the videos, the movie takes a thorough, methodical approach to laying out the case against Netanyahu, even if few of its arguments are new.
  3. Who by Fire
    Lesage’s characters may talk a lot, but because he avoids exposition, he ends up overloading the story with dramatically heightened episodes. These keep things simmering, but they often overstate the obvious as much as any telegraphing dialogue might.
  4. The Lord of the Rings
    The Lord of the Rings, is both numbing and impressive. Yet it would be difficult to recommend this movie to anyone not wholly absorbed by the uses of motion-picture animation or to anyone not familiar with Tolkien's home-made mythology, which borrows liberally from various Norse myths, the Eddas, the Nibelungs and maybe even Beatrix Potter.
  5. Hot Frosty
    Everyone involved knows exactly what movie they’re making — especially Craig Robinson as the hilarious town sheriff.
  6. Ash
    The high-concept sci-fi horror film “Ash,” a hazy story about an amnesiac deep-space explorer who awakens to discover her entire crew was killed, is light on answers but heavy on style.
  7. Jo Jo Dancer, Your Life Is Calling
    Jo Jo Dancer is a far from great movie. However, there's something revivifying about seeing Mr. Pryor take this flyer in writing, directing and acting in his own work.
  8. Dream Team
    Nothing about Dream Team is very serious, and it would be a waste of time to force meaning onto it. But that’s not a mistake; it’s the whole idea.
  9. Lilo & Stitch
    There’s just enough to make for a moderately fun, mostly serviceable and often adorable revamp that will probably satisfy fans of the original.
  10. The Colors Within
    The Colors Within has such an aloof tone that the deeper motivations and stakes for each character, though alluded to, don’t feel substantial enough to provide the story with any sense of urgency.
    • 51 Metascore
    • 60 Critic Score
    It All Came True
    A diverting trifle with Humphrey Bogart and Ann Sheridan that must have been shot during a Warner lunch hour. But it makes good, raffish fun. [18 May 1986, p.2A]
    • The New York Times
  12. Sister Midnight
    In his first feature, Kandhari makes use of morbid humor and expressive imagery, including stop-motion effects. He rarely relies on dialogue and favors a fuzzier plot, which leaves the story with a shapeless and sometimes confusing midsection.
  13. Lightning Strikes Twice
    Lightning Strikes Twice, in short, is not explosive fare, but it does crackle on occasion.
  14. Sly Lives! (aka the Burden of Black Genius)
    The movie gets lost in the gulf between standard, if illuminating, biography and roiling existential crisis.
  15. Fight or Flight
    Hartnett and Chandran’s laid back chemistry steady the film’s turbulent tonal shifts, adding a punch that the shakily choreographed action lacks.
  16. Millers in Marriage
    Its characters may be stressed out, but its rhythms are leisurely, the skill of the actors mostly countering the weaknesses in the script.
  17. Checkpoint Zoo
    Checkpoint Zoo portrays a caged and dependent menagerie that bewilderingly experienced humans at their worst and, fortunately, their best.
  18. Sex
    Sex is a curious movie, with a mix of moods and intentions that are, by turns, inviting and seriously off-putting.
  19. Love, Brooklyn
    It has its moments — Nicole and Roger on the steps of her brownstone, for one. And it’s awfully lovely to look at (cinematography by Martim Vian). But, like its characters, it’s a little too comfortable with being betwixt and between.
  20. By Design
    Kramer has constructed an ironically detached artifact that invites questions about ownership and image and then bats them away, making it a frustrating experience with an intriguing veneer.
  21. Omaha
    I was left befuddled about the movie’s message and, indeed, what I was supposed to make of the whole thing. That’s frustrating, and it’s not the sort of feeling you want to have when leaving a movie like this; it overwhelms whatever impression the rest of the movie might have left.
  22. Atropia
    The movie, written and directed by Hailey Benton Gates, wants to be a lot of things at once, including a satire and a dark rom-com. It bites off more than it can comfortably chew. However, the cast, also featuring Tim Heidecker, Chloë Sevigny and Channing Tatum, is charismatic and at times piercingly funny.
  23. Rule Breakers
    The director Bill Guttentag and his cast get the can-do spirit at its core, as well as the societal constrictions that make such perseverance especially impressive, but it’s also a story that could have been told with more concision and subtlety.
  24. Oh, Hi!
    To the degree it works — and it does, a lot of the time — it’s a testament to its performers, especially Gordon and, once she arrives on the scene, Viswanathan, both of whom bring an energy to the screen that always has a touch of mischief, like they could veer off into lunacy or ecstasy at any time.
  25. Together
    It’s clever in concept and kind of silly in execution, which wouldn’t be a bad thing if it knew how to commit to its goofiness.
  26. La Dolce Villa
    To be honest, the longer I watched La Dolce Villa, the more I started to think its very nonsensicality was the charm. It is not aiming for realism, even the kind of realism a previous generation of romantic comedy might have tried to evoke.
  27. Dead Lover
    It’s too much yet not enough.
  28. Bunnylovr
    Bunnylovr, the first feature from Katarina Zhu, touches on various themes, none of which feels fully realized. Yet there is such a sweet symbiosis between Zhu’s intimate, easy directing style and her unselfconscious performance in the lead role — beautifully illuminated by Daisy Zhou’s gentle cinematography — that the movie’s aimlessness rarely grates.
  29. Jezebel
    It is still an interesting film, though, in spite of our sniffs at its climax; colorful, generally well-performed and admirably directed by William Wyler.
  30. King Solomon's Mines
    There is more than a trace of outright hokum in this thriller...but there is also an ample abundance of scenic novelty and beauty to compensate.
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