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. Sisters
    Sisters is both too careful and too sloppy to take full advantage of the thornier implications of its premise. It’s too awkward — because scenes drag when they should swing and jokes sag when they should pop — and not awkward enough.
  2. Why Don't You Play in Hell?
    Goofball antics and a terrific, raucous finale can’t make up for the essential slackness of its repetitive comedy and punk chest thumping.
  3. Tanzania: A Journey Within
    The documentary “Tanzania: A Journey Within” is two travel diaries woven together. One is somber and moving. The other is distractingly annoying.
  4. X-Men: Apocalypse
    For every lively moment, there’s a reminder that the franchise is tiring.
  5. Where We Started
    Written and directed by Chris Hansen, this romance has its authentic moments. As it happens, Mr. Brumlow and Ms. Vander Broek are married, but their familiarity hurts as much as it helps.
  6. Chapman
    The more Chapman reveals, the less seems to be going on, and the more its quirkier developments... play like independent-film clichés.
  7. Ricki and the Flash
    Ricki’s attitudes, and their place in the family and the society she inhabits, are the most interesting part of the movie, or at least they would be if Ms. Cody and Mr. Demme were not so weirdly conflict-averse.
  8. The Song
    The actors, none of whom have much experience, are quite convincing, but the story — Jed falls, then sees the error of his ways — is an oft-told one.
  9. Point Break
    Nowhere does Mr. Core’s film approach the action-movie chops or psychological smarts of Ms. Bigelow’s original or, truth be told, benefit from actors displaying the same charm as her stars. But for a number of liberating airborne seconds, none of that may matter.
  10. The LEGO Ninjago Movie
    The Lego figures are rendered with playful rigor; their limited movements and expressions generate some amusing sight gags. But the physical world they inhabit is more of a generic digital-cartoon space than a snapped-together environment. And the themes they explore are tired, cynical, sub-Disney bromides about family reconciliation and self-discovery.
  11. Max
    As the intrepid kids and the fearless hound unravel a nefarious weapons-dealing scheme, Max finds its sweet spot, leaving behind its overwrought patriotic swagger and settling into the kind of story that would fill a decent hour of television.
  12. Ivory Tower
    Ivory Tower, a documentary about soaring costs and other problems confronting higher education, can’t seem to decide what points it wants to make and ends up making none.
  13. Miss Lovely
    Though not pretentious, his film feels a tad overthought, held back somehow by a stubborn, dour obscurity clouding its freshly realized, lurid milieu.
  14. Jackpot
    As an absurdist suspense film, Jackpot mostly hits its marks. As a comedy, it’s less successful, stronger on sight gags than on the detective’s sarcasm.
  15. Very Good Girls
    You can only imagine how much stronger the movie might have been had it fleshed out subsidiary dramas whose outlines are barely discernible.
  16. The Big Easy
    The screenplay, by Daniel Petrie Jr. and Jack Baran, has a number of funny lines and situations, but the end result looks fiddled with by people attempting to ''fix'' things.
  17. Desert Dancer
    Desert Dancer explores fascinating aspects of present-day Iran but suffers mightily from simplistic and sentimental tendencies.
  18. Frontera
    Frontera settles into a shallow, unconvincing drama with two heroes.
  19. F/X2
    As long as it is fixated on gadgetry, FX2 is reasonably entertaining. But when the movie focuses on plot and character, it turns quite dotty in an amiable way.
  20. Stir Crazy
    Stir Crazy is an energetic but spiritless shambles.
  21. Uncle Buck
    Sometimes funny and, in the way of small-screen entertainment, so perfectly predictable that one could mail in the laughs.
  22. The Witches of Eastwick
    The Witches of Eastwick does have enough flamboyance to hold the attention, directed as it has been by Mr. Miller in a bright, flashy, exclamatory style. But beneath the surface charm there is too much confusion, and the charm itself is gone long before the film is over.
  23. Beneath
    Sparing with scares and judicious with gore, the director, Ben Ketai (working from a screenplay by Patrick J. Doody and Chris Valenziano), proves better at summoning atmosphere than developing characters.
  24. This Is Not a Ball
    The journey, an exploration of the passion for soccer that evolves into a history of the ball (a sort of film version of the anthropologist John Fox’s 2012 book, “The Ball”), is somewhat illuminating, often indulgent and never wholly satisfying.
  25. The BFG
    There are delights on display, but not many surprises...The BFG is a different kind of movie, and Mr. Rylance’s face and body have been enhanced and distorted by digital sorcery, but his unique blend of gravity and mischief imbues his fanciful character with a dimension of soul that the rest of the movie lacks.
    • The New York Times
      • Posted Jun 30, 2016
  26. Kabbalah Me
    Kabbalah Me, which distinguishes between “narrow consciousness” and “expanded consciousness,” merely walks the middle ground.
  27. Da Sweet Blood of Jesus
    It’s not especially horrifying, or even very thought-provoking. It is touching, however, because it represents one frequently misunderstood, intermittently great filmmaker’s tribute to another.
  28. Marius
    It’s not entirely clear what this faithful, slightly creaky new rendering, adapted and directed by the actor Daniel Auteuil, has to offer.
  29. Fanny
    Mr. Auteuil’s passion project is sincere but not successful, honorable but not alive.
  30. Black Mass
    Mr. Cooper’s direction is skillful, if overly reliant on borrowed Scorseseisms (especially when it comes to music), and the cast is first-rate, but the film is a muddle of secondhand attitudes and half-baked ideas. It feels more like a costume party than a costume drama.
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