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. Beyond the Valley of the Dolls
    Any movie that Jacqueline Susann thinks would damage her reputation as a writer cannot be all bad. Beyond the Valley of the Dolls isn't—which is not to say it is any good.
  2. Walking Tall
    Valiant Southern sheriff. Effective, unsurprising.
    • 66 Metascore
    • 50 Critic Score
    Soylent Green
    Unfortunately, the script, direction and the principals involved in this struggle for survival often are as synthetic as Soylent Green.
    • 34 Metascore
    • 50 Critic Score
    Private Lessons
    Private Lessons is soft core -breasts, garter belts, heavy panting -with a touch of Walt Disney. There is a comic car chase, a funny fat boy and lots of California sunshine. After all, the film, which is based on ''Philly,'' a novel by Dan Greenburg, is supposed to be a comedy. Maybe this is another first, the old porn updated for the new consumer society.
  5. Doctor Sleep
    This screen adaptation feels like a clumsy hybrid. It’s a little too long and winding to work as a feature film, especially in the horror genre, and might have worked better as a limited series, with a little more room for the many characters who populate its grimly imagined American landscape.
  6. The Dirty Dozen
    Sadistic, anti-Nazi slaughter mission. Entertaining as a blowtorch.
  7. Coming Home
    Strong, stinging triangle of two Vietnam vets and one wife.
    • 62 Metascore
    • 50 Critic Score
    Thunderbolt and Lightfoot
    Not so hot. Try again, boys.
  9. Poltergeist III
    Poltergeist III suffers from bad casting and from the actors' having been encouraged to behave as if sampling an exciting new toothpaste; everyone smiles unreasonably, except when screaming.
  10. Coneheads
    Coneheads falls flat about as often as it turns funny, and displays more amiability than style.
  11. How It Ends
    it’s a surprisingly O.K. addition to the genre.
  12. Puppet Master: The Littlest Reich
    While you don’t require familiarity with the dozen or so earlier titles to enjoy this one, you do require a sense of humor that’s easily triggered and a gag reflex that isn’t.
  13. Damascus Cover
    As one Syrian character tells another, “Timing is everything in this business,” and timing is only one flawed aspect of this uneven movie.
  14. Neighbors
    The situation that Neighbors starts off with is funnier than anything that grows out of it, at least the version of the tale by Mr. Avildsen's and Larry Gelbart, the screenwriter. While Mr. Berger's novel has an aspect of the mysterious to keep it going, the film is solely devoted to hijinks, and the hijinks have nowhere to go.
  15. Friday the 13th Part III
    As in each of the other recent 3-D movies, of which this is easily the most professional, there is a lot of time devoted to trying out the gimmick. Titles loom toward you. Yo-yos spin. Popcorn bounces. Snakes dart toward the camera and strike. Eventually, the novelty wears off, and what remains is the now-familiar spectacle of nice, dumb kids being lopped, chopped and perforated.
    • 58 Metascore
    • 50 Critic Score
    The Enforcer
    The action is reasonably fast and competently photographed. The picture doesn't exactly drag. But it is maggoty with non‐ideas.
    • 56 Metascore
    • 50 Critic Score
    The Omega Man
    Peppered with some sharp, even amusing dialogue, the story temporarily shelves the heavy allegory and slips into good, slam-bang suspense. But it doesn't last.
  18. Five Seasons: The Gardens of Piet Oudolf
    "Five Seasons” is least dull when capturing the artist at his most spontaneous, showing his joy, for instance, at seeing Texas wildflowers. But the director Thomas Piper, whose credits include another documentary that deals with the High Line and a film about the artist Sol LeWitt, never finds a way to convey the excitement of his subject’s innovations.
  19. The Devil's Doorway
    This smart but uneven horror movie has little interest in fun.
  20. The Black Cauldron
    This is the 25th full-length animated feature from Walt Disney studios, and professionally put together as it is, many of the ingredients may seem programmed to those who have seen some of the others.
  21. The Dark Crystal
    The Dark Crystal aims, I think, to be a sort of Muppet Paradise Lost but winds up as watered down J.R.R. Tolkien.
  22. Class of 1984
    Class of 1984 is sort of crudely funny. The movie's idea of punk culture is also picturesque. But it quickly gets worse and worse until it achieves a degree of awfulness that, though rare, isn't much fun.
  23. Nobody's Fool
    If the movie’s looseness lets in an excess of dead air, “Nobody’s Fool” is still dotted with pleasures besides those Haddish brings.
  24. The Love Bug
    Such a vulnerable movie that if it were a little less sappy, one might feel compelled to protect it, as if it were someone under 7 or over 65 -- that portion of the public for which it is intended.
    • 58 Metascore
    • 50 Critic Score
    Magnum Force
    The movie is a muddle of morality.
  26. The Karate Kid Part III
    With its sluggish script and unaging characters, The Karate Kid Part III has the rote sense of film makers trying to crank out another moneymaker.
  27. Elizabeth Harvest
    Mr. Gutierrez keeps the viewer in the same state of confusion as Elizabeth, but each surprise, paradoxically, makes the movie less and less surprising as a whole.
  28. Ernest Saves Christmas
    The best that can be said for the film is that it leaves Ernest behind now and then to focus on Santa, who is played by Douglas Seale with sweetness, sincerity and an amazing amount of dignity, considering his surroundings.
  29. Ernest Goes to Jail
    Ernest Goes to Jail so resembles a high-spirited cartoon that it is likely to be more amusing to children and less painfully obnoxious for parents than its predecessors.
  30. Ernest Rides Again
    The movie knows its audience, which is roughly between the ages of 5 and 13 and enjoys inane, goofy slapstick that seldom lets up.
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