The New York Times' Scores

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For 20,324 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: 9,408 out of 20324
  2. Mixed: 8,449 out of 20324
  3. Negative: 2,467 out of 20324
20324 movie reviews
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  1. Casting JonBenét
    It’s a handsome package that never transcends the banality of its ideas, most of which involve how different people, including from Boulder, were affected by the case.
  2. Dayveon
    The diffuse filmmaking style muffles the story’s power.
  3. The Age of Consequences
    The information here is compelling and frightening, but the movie is ham-handed.
  4. Wolves
    The actors do nice work before things derail.
  5. Wonder Park
    Although its protagonist is blessed with a gift for engineering the impossible, Wonder Park is a film where faulty execution betrays a healthy imagination.
  6. Speech & Debate
    Over all, the movie, directed by Dan Harris and featuring name actors like Kal Penn and Janeane Garofalo in small roles, has a focus problem that leaves its humorous moments obscured and its intentions hazy.
  7. Dina
    The filmmakers might have cleared up suspicions about their motivations and ethics had they worked them into the narrative.
  8. Mr. Gaga
    A more finely focused treatment would have made a much better summation of, or introduction to, Mr. Naharin’s work.
  9. Left on Purpose
    Arguments over whether the documentary’s existence honors Mr. Vishner’s wishes and spirit — and whether continuing to film was appropriate — lead in circles.
  10. Stray Bullets
    Mr. Fessenden’s ambition is admirable, and there’s more than a little raw skill on display. If this, his first feature, isn’t always worth recommending, his talents are certainly worth encouraging.
  11. 13 Minutes
    With a little more shading and originality, 13 Minutes might have pushed beyond its familiar Nazi tropes to shape something more immediate and infinitely more potent: an ominous portrait of radicalization.
  12. The Ticket
    The script is incapable of penetrating the moral thicket that the actors and the cinematographer, Zachary Galler, have so carefully woven.
  13. Django
    The finale enlivens an otherwise staid biopic, but whether the film has earned a moment of uplift is unclear.
  14. As You Are
    Much of the movie, from its attempts to capture the confusing exhilaration of youthful experience to its predictable progressive character dynamics, is labored.
  15. You're Killing Me Susana
    [Roberto Sneider's] movie is erratic, jumpy (thanks to a needlessly affected editing style) and not entirely in control of its message.
  16. The Tango Lesson
    Stiffly playing a filmmaker with a growing passion for the tango, she makes this a handsome, drily meticulous film with no real fire anywhere beyond its supple dance scenes.
  17. Year by the Sea
    The movie is not entirely my cup of tea, although it is refreshing in its depiction of diverse, older female characters.
  18. Trolls World Tour
    While the genre-bridging premise affords the film more variety and verve than its sugary predecessor, the movie, directed by Walt Dohrn, still gives you the sensation of being barricaded in a karaoke lounge where all the attendees have snorted Sweet Tarts.
  19. 47 Meters Down
    In the lulls between bouts of yammering, however, the director, Johannes Roberts, concentrates on building a solid atmosphere of desperation.
  20. Mighty Joe Young
    Mighty Joe Young, directed by Ron Underwood from a screenplay by Mark Rosenthal and Lawrence Konner, is saddled with dialogue so wooden that Mr. Paxton and Ms. Theron almost seem animatronic themselves. Little children won't notice. In Joe, they can identify with the biggest, cuddliest simian toy a 6-year-old could ever hope to own.
  21. Dunston Checks In
    The movie should have been a steadily escalating rampage that results in outrageous property damage. Instead, it wastes too much of its time developing the cardboard characters of the hotel manager, Robert (Jason Alexander), and his two mischievous sons, Kyle (Eric Lloyd) and Brian (Graham Sack).
  22. Outbreak
    The effort to turn Outbreak into an action picture insures that little of it will be believable, regardless of how much scientific data has been woven into the story. The film's shallowness also contributes to the impression that no problem is too thorny to be solved by movie heroics.
    • 61 Metascore
    • 50 Critic Score
    Mighty Joe Young
    The wonder of Mighty Joe Young is the mobility of the mechanical star, but even that novelty wears thin after a while.
  24. SHOT! The Psycho-Spiritual Mantra of Rock
    The movie’s approach is gratuitously grandiose.
  25. Porto
    This first narrative feature from Gabe Klinger seduces with breathtakingly gorgeous visuals that feel both achingly nostalgic and elegantly modern. These often ravishing aesthetics and stylistic quirks act as soft restraints, keeping us watching despite a near-total absence of story and a thinly disguised attitude of male entitlement.
  26. Rocky II
    Rocky II has a waxy feeling, and it never comes to life the way its predecessor did. As the characters go through their stock routines — Talia Shire shyly whispering I love you, Mr. Stallone making self-deprecating jokes, Burgess Meredith telling the kid he's either a bum or a hero — you get the feeling that you've been here before. Well, you have.
  27. Rocky III
    It's not giving away state secrets to report that Rocky finds that success has made him fat and that to triumph again, he has to learn to be ''hungry.'' Rocky's problem is thus not that of America in the 80's but more like America in the affluent 60's and early 70's.
  28. By the Time It Gets Dark
    By the Time It Gets Dark has clearly been thought through, but it’s so cryptic that it cries out for, if not perfect explanations, perhaps footnotes. It’s so conceptual that it offers little for those not in sync.
  29. Venom
    Ultimately, the ingratiating eccentricities of Venom aren’t enough to really distinguish the movie from its superhero-movie brethren as it devolves into the usual expensive orgy of sound, fury and wisecracking.
  30. Phillauri
    Mr. Lal, making his feature directorial debut, clearly understands the camera and special effects. But working from a script by Anvita Dutt that reaches too far in too many directions, he is undone by his own ambition.
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