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. Oliver & Company
    It's not that Oliver and Company is not up to par. It actively denies its own unique heritage. [18 Nov 1988, p.C8]
    • The New York Times
  2. The Dark
    Mina and Alex seem less like teenagers and more like case studies with traumas rather than personalities. The horror genre can be a pipeline into the dark corners of the psyche, but the impact of The Dark is more clinical than cathartic.
  3. Trust Machine: The Story of Blockchain
    A hodgepodge of boosterish arguments for blockchain technology, Trust Machine: The Story of Blockchain, directed by Alex Winter (Bill of “Bill & Ted” fame), is not always a model of clarity, but it does a decent job of explaining the basic concept.
  4. Foreign Land
    In place of some kind of discovery there is mostly lamentation. That may be a valid response to events in Israel, but it’s not always a good way to engage a viewer.
  5. 9 Fingers
    Some striking scenes notwithstanding, this movie doesn’t achieve the delirium it aspires to. It’s often flat and tame, and obvious in the wrong ways.
  6. The Rescuers Down Under
    The mice themselves are enjoyably dowdy, comfortable throwbacks to a time before earth-shattering conquests were the sine qua non of children's entertainment. The film's action sequences, on the other hand, provide the dizzying heights and spectacular exploits to which live-action audiences are by now well accustomed, and they seem derivative despite the ingenuity of the animators.
  7. The Intruder
    More silly than scary. This doesn’t seem to be entirely intentional, and it isn’t altogether unwelcome.
  8. Isn't It Romantic
    The film’s reliance on conventions even as it snickers at them gives it the faint air of a con.
  9. Postcards from London
    The film’s elegant compositions themselves are painterly, with the actors carefully posed; and the atmosphere is theatrical, with crisp line readings and sparsely populated frames. Those elements, plus a meandering story line, may not make for a particularly involving narrative experience. But it sure is nice to look at.
  10. Of Fathers and Sons
    Of Fathers and Sons is ultimately more impressive for its access than it is revealing of drives or beliefs. If Derki’s goal was to capture what causes ideology to spread, he and his camera look without seeing.
  11. Bird Box
    The squelching of promise is not my worst (cinematic) fear, per se. But it’s still disappointing.
  12. The Hunchback of Notre Dame
    The latest and most uncertain of Disney's animated efforts, with its manic mood swings and cloying, none-too-cuddly hero.
  13. Rough Cut
    To watch it is to try to put together the pieces from three different jigsaw puzzles. Not everything fits. [19 June 1980, p.19]
    • The New York Times
  14. Asher
    Unfortunately the pace is so relaxed as to be meandering; and Jay Zaretsky’s screenplay is cliché-packed.
    • 52 Metascore
    • 50 Critic Score
    Nickelodeon
    Nickelodeon is two hours and two minutes of impersonations.Some of them are very good impersonations—deft and funny—but they lack a life to string them together.
    • 31 Metascore
    • 50 Critic Score
    Silent Rage
    [Norris] is a kind of whitebread Bruce Lee, with no screen presence to speak of, but nothing terribly offensive working against him, either. He is just sort of there...Silent Rage may be trying to say something here about wealthy technicians and the popular culture, but then the psychopath or Mr. Norris appear and the thought gets lost.
  17. Six Pack
    If you've never seen anyone wear a gold chain with a sweatshirt, then by all means go see Kenny Rogers in Six Pack. If that is not your idea of originality, the good-natured but none-too-interesting Six Pack won't strike you as anything new.
  18. The End
    This is half-heartedly satiric material that's been directed by Mr. Reynolds as if it were broad, knock-about comedy sometimes and, at other times, as if it were meant to evoke pathos, which it never does.
  19. The Wanderers
    Makes mincemeat of an excellent novel.
  20. Las Sandinistas!
    For a movie trying to push back at popular perceptions of history, ¡Las Sandinistas! could stand to be more lucid.
  21. The Frighteners
    The actors can't keep the film's mood from verging on hysteria as the story roams all over the map.
  22. Vision Quest
    Movies are not like people who, if they're basically nice and decent, can be liked even if they're not very stimulating company. Movies of that order wear one down. They demand attention without giving much in return - amiability is not enough. This is Vision Quest.
  23. Dumplin'
    Kristin Hahn’s script gives Will sassy lines and too many tears, but the filmmakers never give this character a real, searching, complex inner life. They give her problems to solve, hurdles to clear. They turn emotional complexity into affirmations and a potentially transformational character into a you-go-girl cliché.
  24. Youngblood
    Youngblood seems chiefly designed as a vehicle for Mr. Lowe, and Mr. Lowe seems well able to handle more demanding material. But once the film descends into the usual platitudes about doing one's best and making the grade, it begins to seem aimless.
  25. The Sun Is Also a Star
    The story and its trappings feel a little generic, the dialogue studiously bland and the characters and their problems curiously weightless, in spite of gestures in the direction of real-world issues.
  26. Shaft
    You occasionally sense the presence of an interesting movie struggling to get out of this hyperactive action comedy — or even just a better Tim Story action comedy, something like “Ride Along” or “Ride Along 2.”
  27. Oh, God! You Devil
    The material is extremely slight, but at least it's benign.
  28. Looking for Mr. Goodbar
    Miss Keaton, who continues to grow as an actress and film presence, is worth paying attention to in bits and pieces of the movie. She's too good to waste on the sort of material the movie provides, which is artificial without in anyway qualifying as a miracle fabric.
  29. The Final Countdown
    The footage dealing with the mechanics of the Nimitz is, in fact, interesting, and there is one quite comic sequence in which several of the Nimitz's jet fighters take on two, totally baffled World War II-vintage Japanese Zeros. As an entertainment film, though, the movie is utter nonsense. [01 Aug 1980, p.C3]
    • The New York Times
  30. Avicii: True Stories
    The director, Levan Tsikurishvili, never reconciles the movie’s competing impulses. It’s part promotional video, part backstage doc and — in retrospect — part tragedy.
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