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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    • 50 Metascore
    • 50 Critic Score
    Kelly's Heroes
    Not without its problems. But it is very largely without viable solutions to them. Not without resources—it is full of resources, natural and mostly untapped—but with out that resourcefulness necessary to persuade us that comedy, any comedy, is worth the time of day.
  2. The White Crow
    The problem is that while there are dance performances scattered throughout The White Crow, as well as interludes with a sweaty Rudy practicing and striving, the offstage scenes tend to feel like filler, the bits stuck between the barre and the theater.
  3. Under Siege 2: Dark Territory
    Although Under Siege 2 isn't credible for a single moment, its director, Geoff Murphy, has done a smoothly efficient job of coordinating the action sequences.
  4. Knives Out
    Johnson’s own sleight of hand is estimable, even if his effort to add politics into the crowded mix rings hollow. The machine is what matters here, and he has clearly had such a good time engineering it that it’s hard not to feel bad when you don’t laugh along with him.
  5. Out for Justice
    It really would be unfair to take such a narrow view of Mr. Seagal's appeal. In fact, he combines street-smart swagger and a flair for wisecracks with a martial arts background and the pampered look of a Hollywood eminence, all of which makes for a lively mix. [13 Apr 1991, p.12]
    • The New York Times
  6. The Hole in the Ground
    In a film where the central horror is the otherworldly absence of personality, the intended fear is undermined by the presence of a mother and son whose flawlessness is itself unnerving.
  7. Joseph Pulitzer: Voice of the People
    While there are amazing anecdotes here, there is little to catch the eye or ear.
  8. The Highwaymen
    This isn’t an especially good movie — it’s too long, too drenched in Thomas Newman’s cloyingly eclectic score, too full of speechifying and self-regard — but it is a coherent one, with the courage of its vengeful, murderous, politically terrifying convictions.
  9. Wine Country
    The comedy is situational and confessional, the flat one-liners mixed in with more memorable physical comedy. The scripted lines rarely zing, sing or sting (some seem improvised), but when the performers fall down or screw up their faces, you get to watch them fill in their characters with something like real feeling.
  10. Adam
    Adam is a movie that tackles big ideas about queerness and comes out looking confused — making it an experience that frustrates even as it tries to endear.
  11. Big Time Adolescence
    Despite some moments of tenderness and easy chemistry between Zeke and Mo, “Big Time Adolescence” doesn’t have enough heart or humor to save it from becoming just another movie about white dudes bro-ing out.
  12. Brittany Runs A Marathon
    Bell imbues Brittany with humanity and wit, but all too frequently she is working within the framework of a story that seems hellbent on robbing her character of joy.
  13. Cold Case Hammarskjöld
    Cold Case Hammarskjold is finally poised unsatisfyingly between an explosive exposé and a self-conscious put-on. Even a full acceptance of its assertions doesn’t do much to illuminate Hammarskjold’s death.
  14. Monos
    It’s frustrating to see such a sophisticated cinematic apparatus used in the service of such muddled half-ideas.
  15. Official Secrets
    The director Gavin Hood, who wrote the script with Sara Bernstein and Gregory Bernstein, fits the pieces together coherently, no small thing given the complications. But the characters are malnourished and Hood’s attempts to build suspense often fall flat because he leans hard on genre conventions, on dark shadows, ominous music and abrupt sounds straight from a horror flick.
  16. The Report
    However crucial and opportune in its truth-seeking and depictions of political trickery (Burns could hardly have known his film would plop into theaters alongside the impeachment hearings for President Trump), The Report is too often dramatically frozen, its emotions stubbornly internal.
  17. The Lodge
    Despite its visual flair and unrelentingly taut atmosphere, The Lodge is more successful in sustaining unease — like the eerie, unexplained shots of a spooky dollhouse — than in building a convincing narrative
  18. The Sound of Silence
    The Sound of Silence wants to be heard, but, in the end, doesn’t have much to say.
  19. The King of Staten Island
    The King of Staten Island is one of those 10-block-radius life slices whose smallness and intimacy ought to be a virtue. But the movie seems afraid of itself.
  20. Tom Clancy’s Without Remorse
    Jordan makes a sturdy enough action hero, but the character as portrayed doesn’t give him any contours to play.
    • 71 Metascore
    • 50 Critic Score
    Road Games
    Jamie Lee Curtis plays the jiggly hitchhiker he picks up, which is one reason he calls her Hitch. Another reason, according to a pretentious statement by the director, Richard Franklin, is to pay tribute to Alfred Hitchcock, who should be twirling.
  22. Holiday
    Because Eklof’s approach is formally very clean, showing some genuine, intriguing detachment, I’m apt to prefer it to Seidl’s work. But not by much.
  23. Zorro: The Gay Blade
    Zorro, the Gay Blade, which was directed by Peter Medak (''The Ruling Class'' and ''The Changeling'') and written by Hal Dresner, has some of the slapdash bounce of Bob Hope's long-ago Paramount comedies. Though it doesn't have the authoritative timing and leering presence of Mr. Hope, it has its own careless charm and an appealing tolerance for jokes that aren't wildly funny.[24 July 1981, p.16]
    • The New York Times
  24. The Racers
    It is something for racing fans to see. But the business that passes for a story in between and among the racing scenes is depressingly unoriginal and banal.
  25. Ma
    The movie ties itself up in knots as it tries to be provocative without giving offense, and offering more complacency and comfort than terror.
    • 53 Metascore
    • 50 Critic Score
    Speedway
    This is after all, just another Presley movie — which makes no great use at all of one of the most talented, important and durable performers of our time.
  27. Piranhas
    In its reliance on a conventional narrative through-line, it’s more reminiscent of “The Public Enemy” than “Goodfellas” in spite of its stylings of contemporary cinematic realism.
  28. Temblores
    Bustamante renders the film’s distinct milieus with extraordinary texture. The sanitized and soulless spaces of Pablo and his family form an evocative contrast with the lively, bustling bars and streets frequented by Francisco. But this emphasis on sensory detail comes at the cost of the big picture.
    • 52 Metascore
    • 50 Critic Score
    Ferrante Fever
    It’s an anodyne fan flick that casts only furtive glances in Ferrante’s direction, as if the filmmaker, Giacomo Durzi, were a reverential subject who doesn’t dare to make eye contact with the queen.
  30. Airport 1975
    A silly, jumbo-size sequel to the original film adaptation of Arthur Hailey's Airport.
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