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 Cowboys
    So flecked with minor dishonesties that you come to recognize it as a sort of Formica Western, something that amounts to a parody of the real thing.
    • 58 Metascore
    • 50 Critic Score
    The Way of the Dragon
    Unlike its predecessor, Enter the Dragon, which was praised as a well-made movie, this picture is dreadfully slow and feeble whenever the cast isn't fighting. So you yearn for each battle, just as you wait impatiently for the songs or dances in a tedious musical.
  3. Straw Dogs
    It is an intelligent movie, but interesting only in the context of his other works.
  4. Mary, Queen of Scots
    Because both Miss Redgrave and Miss. Jackson possess identifiable intelligence, Mary, Queen of Scots is not as difficult to sit through as some bad movies I can think of. It's just solemn, well-groomed and dumb.
  5. Fiddler on the Roof
    They want to show us everything, to give us our money's worth. In so doing, they've not just opened up the play, they've let most of the life out of it.
  6. Willard
    Willard, which is otherwise a dull movie of no major consequence, is a rather astonishing footnote to a major urban problem.
    • 52 Metascore
    • 50 Critic Score
    Lawman
    A potent but curiously exasperating Western.
  8. The Day Shall Come
    A circular firing-squad of full-on crazy, Chris Morris’s The Day Shall Come barges into American counterterrorism tactics with sledgehammer satire and a numbingly repetitive plot.
  9. Two Plains & a Fancy
    The mode of humor is close to cliquish anticomedy, and viewers not attuned to it may feel like there’s a joke they’re missing.
  10. Olympic Dreams
    Compared to the drama of the competition, the story and its characters always feel slight, an excuse to hang out among Olympians rather than a movie that builds upon (or for that matter critiques) its surroundings.
  11. Run This Town
    The movie never quite reconciles its assorted perspectives into a coherent point of view.
  12. Get Duked!
    The scenery is pretty and the actors appealing enough to almost excuse the thinness of the material.
  13. Children of the Sea
    Children of the Sea finds plenty of beauty and purpose in the watery depths but doesn’t provide enough grounding first: It’s all too easy to get lost 20,000 leagues under the sea.
  14. Total Dhamaal
    The moral seems as tacked on as the villain. But it’s a sweet thought and not entirely out of keeping with a movie that for all its crassness, comic and commercial, is basically good-spirited.
  15. Tigerland
    Tigerland falls into a common trap of advocacy documentaries, which is to inform on an urgent issue — preserving a species — without a particularly urgent cinematic narrative to match it.
  16. Storm Boy
    Storm Boy tries to present itself as a modern fable, where the lessons learned relate directly to present-day concerns over the environment, industrialization and the marginalization of indigenous cultures. But these themes come across as didactic rather than moving.
  17. The Legend of Cocaine Island
    The director (2014’s “Little Hope Was Arson”) can lay it on thick with the comic scene setups and James Bond-like soundtrack. Then again, this underlines the silliness of Rodney Hyden’s odyssey.
  18. Wall
    Imperiously wringing his hands at both sides of the conflict, Hare never brings his observations together in a satisfying conclusion (not that any was likely, in just 80 minutes).
  19. Lady and the Tramp
    The movie is middle-of-the-road rather than bad — hard to hate and harder to love.
  20. Kalank
    This kind of fantasy-spectacle is Mr. Varman’s forte, not storytelling. When the singing and dancing and action stop, which is less often than you might think, so does “Kalank.”
  21. Loro
    In some ways Berlusconi, a media mogul and cruise-ship crooner in earlier phases of his career, a creature of appetite and excess, is Sorrentino’s ideal subject. But the overlap in their sensibilities turns Loro into a blurry, distracted, sentimental portrait.
  22. I Trapped the Devil
    By seesawing between bland normalcy and hellishness, Lobo denies his audience the immersive horror that his film’s best images promise.
  23. Nureyev
    Nureyev, directed by the brother-and-sister team of Jacqui Morris and David Morris, suffers from a common documentary-film problem: great story, not-so-great storytelling.
  24. The Kill Team
    While the leads are credible, the filmmaking (including a hacky score) adds a sheen of macho familiarity to a narrative that was eerily matter-of-fact in doc form.
  25. Lost Transmissions
    The movie’s strongest feature is its depiction of a male-female friendship that matter-of-factly abjures any romantic component. Temple and Pegg, when their characters aren’t falling apart (and even sometimes when they are), convey intelligence and mutual regard with refreshing straightforwardness.
  26. Stray Dolls
    Despite its sense of dead-end desperation, Stray Dolls is made worthwhile by the richness of Shane Sigler’s nighttime cinematography and the consistent empathy of its tone. Sinha, herself a first-generation immigrant, isn’t about to judge anyone for reaching.
  27. Swallow
    Given how nauseating it is to watch Hunter perform increasingly perilous acts of self-harm in her prison of a mansion, neither the payoff nor the psychology behind her actions makes Swallow an illuminating enough addition to the woman-on-the-verge-of-a-nervous-breakdown genre.
  28. Plus One
    Every minute Erskine isn’t on screen is a minute wasted.
  29. Trial by Fire
    Expertly acted throughout...the movie’s raw facts are sufficient to rouse viewer indignation. But the material arguably calls for a more proactively provocative approach.
  30. Q Ball
    As a sales pitch for an undeniably popular program, Q Ball (filmed in 2018) builds a crescendo of hope and good will. Anyone seeking a more substantive conversation on life beyond the basket, however, will have to look elsewhere.
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