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. The Housemaid
    The result is a good-looking but overstuffed genre pileup that confuses as often as it compels.
  2. The Darkest Minds
    The director, Jennifer Yuh Nelson (“Kung Fu Panda 2,” “Kung Fu Panda 3”), keeps the pace fast and the exposition flowing; the movie is almost comfortingly watchable. In her first live-action feature, she shows a flair for natural light and doesn’t lean too heavily on effects.
  3. Hotel Mumbai
    It reduces the randomness of real-life bloodshed to the slick thrills of a popcorn movie. And after the mosque attacks in Christchurch, which led the film’s distributor in New Zealand to suspend the movie’s release there, its savagery is especially difficult to take.
  4. Death Wish 4: The Crackdown
    Death Wish 4 is as efficient and predictable as Kersey himself, and inoffensive as long as you can root for a sociopathic hero.
  5. The Pink Panther
    There is one thing about this picture that is clever and joyous, at least. That is a cartooned pink panther that runs through the main titles at the start making mischief with the lettering, insistently getting in the way. He is so blithe and bumptious, so sweet and entirely lovable, that he's awfully hard to follow. It's questionable whether the picture does.
  6. Doctor Zhivago
    And this is the weakness of the film. Mr. Bolt has reduced the vast upheaval of the Russian Revolution to the banalities of a doomed romance.
  7. The Female Brain
    With tender performances and dubious conclusions, this story is best appreciated as an explanation for why people seek out the false comfort of gendered pseudoscience. But by fitting characters into formulas, The Female Brain fails to observe the flexibility of human experience.
  8. Curse of the Pink Panther
    Not unfunny, and not really an offense to the memory of Inspector Clouseau, it's merely a movie with very little reason to exist.
    • 36 Metascore
    • 50 Critic Score
    Hell Night
    Hell Night is not so bad as it might be. It is not so good as it might be, either, but remember that it is a horror film. As the popular culture declines, the horror film declines with it, and whereas the horror film was once spooky, now it is nauseating, measured by the barf, rather than the shiver. Hell Night, however, is only about half a barf, an improvement, therefore, over its kind.
  10. Dim the Fluorescents
    Mr. Warth, who wrote the screenplay with Miles Barstead, creates a flawed tale of female friendship and the artist’s everlasting struggle. Unfortunately, Dim the Fluorescents can’t keep its story together.
  11. Cadillac Man
    Cadillac Man does not stay long in territory pioneered by Arthur Miller, David Mamet and Mr. Levinson. It turns, rather awkwardly, into a hostage-situation comedy featuring a cuckolded young man named Larry (Tim Robbins).
  12. Show Dogs
    If Show Dogs sometimes betrays its shaggy charms, there is comfort in remembering that many movies are much dumber than this one, and so few of them have either the good taste or the good manners to compensate with puppies.
  13. High Life
    Too often the ideas here, visual and otherwise, feel haphazard — outer and inner space, Pattinson’s head, sexual taboo, apocalypse now or maybe then — more like material for a vision board than a fully realized vision.
  14. Under the Silver Lake
    The sweet smarts of Mitchell’s first movie, “The Myth of the American Sleepover” (treated to a bit of auto-allusion in “Silver Lake”) aren’t much in evidence here. Nor are the slippery psychosexual scares of “It Follows,” his breakthrough horror movie from 2015. The ambitions this time are grander, but also vaguer and duller.
  15. Honor Up
    For all of its failings, the movie sometimes manages to bring a scary whiff of the street into its sounds and images.
  16. Mama Africa: Miriam Makeba
    Like many biographical documentaries, it resembles a lengthy highlight reel of crucial events from its subject’s life, without much in the way of style or perspective.
  17. The Happy Prince
    Suffused with a sentimentality that Wilde himself would have deplored, The Happy Prince is narratively mushy and meandering. Yet, beneath the prosthetics, there’s genuine pathos in Mr. Everett’s portrayal of a man bitterly aware that his talents are unreliable armor against the perceived sin of his homosexuality.
  18. MATANGI/MAYA/M.I.A.
    The documentary elicits some viewer indignation on her behalf, but overall, it’s not a very inspired piece of work. While it depicts M.I.A.’s bristling at being called a terrorist advocate, it never wholly clarifies her specific political aims.
  19. The Paper Chase
    It takes a long while for The Paper Chase to disintegrate, and there are some funny, intelligent sequences along the way, but by the end it has melted into a blob of clichés.
  20. Adrift
    The chronological back-and-forth diffuses the dread and suspense — the feeling of desperate uncertainty implied by the title — that might have made for a more intense, more memorable yarn.
  21. The Cured
    Anyone digging through the cemetery soil again had better have fresh ideas. The Cured, the debut feature from David Freyne, has roughly two.
  22. Beyond the Clouds
    Persistent sentimentality — manifested most in the music score by A.R. Rahman — undercuts Beyond the Clouds at almost every turn.
  23. Bleeding Steel
    This consistently ridiculous movie, written and directed by Leo Zhang, does offer Jackie Chan mixing it up at a magician’s rehearsal (he pulls a rabbit from a hat) and Jackie Chan kickboxing at the top of the Sydney Opera House.
  24. Journey's End
    Early screen depictions of World War I, like “The Big Parade” and “All Quiet on the Western Front,” show more passion and visual invention. A rattling sound design and the cinematographer Laurie Rose’s excellent use of low light aren’t enough to make the experience immediate.
  25. I Think We're Alone Now
    A haunting first half can’t offset the absurd ending of I Think We’re Alone Now, a post-apocalyptic tale with a late plot twist that feels as if it comes out of left field. And right field. And center field, the stands and the dugout, too.
  26. Burden
    Though the themes of Burden feel uncomfortably current, their execution is leaden and dismayingly artless.
  27. The Price of Free
    The Price of Free is interested in spreading the word about Satyarthi’s work, both in India and globally, and in getting consumers to approach what they buy with a critical eye, so as not to support child labor. That’s an important message, and it’s not essential to watch the movie to receive it.
  28. Hearts Beat Loud
    With its oversimplified emotions and dumbed-down depiction of the creative process, this inoffensive time-filler dissolves in the mouth like vanilla pudding.
    • 58 Metascore
    • 50 Critic Score
    Death Race 2000
    In the end, it reveals itself to have nothing to say beyond the superficial about government or rebellion. And in the absence of such a statement, it becomes what it seems to have mocked—a spectacle glorifying the car is an instrument of violence.
  30. Revenge of the Nerds II: Nerds in Paradise
    At least slightly more varied than the average fraternity-boy comedy.The nerds' rap number, in which they sing of nerd pride, is probably the high point of this whole endeavor.
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