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. Hustlers
    The spirit of Hustlers is so insistently affirmative and celebratory that all kinds of interesting matters are left unexplored.
  2. The Amazing Johnathan Documentary
    Berman can’t quite juggle it all.
  3. Black Widow
    Despite the intriguing opening sequence, which involves shootings, a jet and a family escape, Black Widow, directed by Cate Shortland, lags, unsure of how to proceed with the story.
  4. Ode to Joy
    Freeman, never the most animated of performers, gives his specific brand of passive British miserabilism free rein. But it’s Melissa Rauch, as Charlie’s safely dull, place-holder girlfriend, who steals the show.
  5. Ordinary Love
    It almost works, but as persuasive as the performers can be, Tom and Joan seem less real the more time you spend with them.
  6. True History of the Kelly Gang
    Grant and Kurzel’s conceptions of the characters are so one-dimensional they seem to defeat the movie’s talented cast.
  7. Endings, Beginnings
    The writing might be a tangle of limp clichés, but the actors — especially Woodley and the terrific Wendie Malick as Daphne’s mother — sweat to sell every line.
  8. I Am Woman
    I Am Woman, a pleasant, yet disappointingly trite biopic of the singer Helen Reddy, has a flatness that’s difficult to ascribe to any one element.
  9. Military Wives
    The title Military Wives is plain to the point of blandness. This good-hearted comedy-drama, starring Kristin Scott Thomas and Sharon Horgan, deserves a little better.
  10. The Other Lamb
    Existing outside of time and place, The Other Lamb is a gorgeous revenge fable with an excess of atmosphere and zero subtlety — a mallet wrapped in gauze and girlish laughter.
  11. Sweet Sweetback's Baadasssss Song
    If Sweet Sweetback is unforgettable, it is also deeply flawed. The acting is mediocre at best. And in depicting women as grotesque, flailing sex machines serviced by the indifferent stud hero, it matches today's gangsta rap in arrogant misogyny.
  12. Ladyhawke
    Mr. Donner has obvious difficulty coordinating the various elements of the overall vision.
  13. She-Devil
    Miss Streep dives into this thimble-sized comedy and makes one believe - at least, while she is on the screen - that it is an Olympic-sized swimming pool of wit.
    • 55 Metascore
    • 50 Critic Score
    Born to Win
    Too theatrically phony and too predictably conventional, and the comedy — though in a few cases genuinely funny — is too mechanical for its function.
  15. Hello, Dolly!
    Gene Kelly, who directed two classic musicals with Stanley Donen, here acts like a caretaker of a big, valuable property. He and Michael Kidd, his choreographer, have protected everything Gower Champion gave the original, and added nothing to the heritage of the musical screen except statistics.
  16. 1917
    A carefully organized and sanitized war picture from Sam Mendes that turns one of the most catastrophic episodes in modern times into an exercise in preening showmanship.
  17. The Border
    Although it has been made with intelligence, is well directed and acted and is in touch with the ways of lower-middle-class American life, it has the sort of predictable outrage and shape of a made-for-television movie. It has suspense but little excitement.
    • 58 Metascore
    • 50 Critic Score
    One Million Years B.C.
    Compared to its 1940 predecessor, One Million B.C., which the other film follows very closely, the new grunt-and-groaner isn't as effective with its trick photography, even with color added.
  19. The Professionals
    The scenery provided for this picture is clearly more profound than the script, and the sense of magnitude in the environment more engrossing than that in the plot.
  20. Cul-de-sac
    Is Mr. Polanski endeavoring to tell us anything about life or crime or perversion in this complex and terminally morbid joke?If he is, I sure don't get it — except maybe that people are sick, that even good humor isn't funny and that social sterility is.
  21. Oliver!
    The focus of the movie is so wide, and the logistics of the production so heavy, that Oliver himself, dutifully played by 9-year-old Mark Lester, gets flattened out and almost lost, as if he had been run over by a studio bulldozer.
  22. White Snake
    The forbidden romance has its will-they-or-won’t-they thrills, but this first feature by the directors Amp Wong and Ji Zhao, becomes a basket of tangled snakes when Blanca faces far too many obstacles.
  23. Ocean's 11
    Lewis Milestone's direction suits the movement of Harry Brown's and Charles Lederer's script, which is entirely centripetal, focusing exclusively on Mr. Sinatra and his gang. Young people are likely to find this more appropriate and bewitching than do their elders. The latter are likely to feel less gleeful in the presence of heroes who rob and steal.
  24. Babyteeth
    The movie has texture but no depth, tears but no snot. Who are these people, I kept wondering.
  25. Sister Aimee
    A weird, erratic and occasionally insightful experiment that, unlike its indefatigable star, never quite finds its zing.
  26. Sex and Zen
    For those who accept the absurd simulations as realistic, Sex and Zen will have soft-core pornographic appeal. For others, its appeal should be as a cheeky if predictable sendup of erotic obsession and its unhappy consequences.
  27. Gretel & Hansel
    Essentially the story of a young woman coming into her power, Gretel & Hansel is quietly sinister, yet too underdeveloped to truly scare. Together, Jeremy Reed’s production design and Galo Olivares’s photography weave a chilly spell that’s regrettably undermined by the opacity of the storytelling.
  28. The King
    What Michôd never manages to make clear is what we are to make of this version’s nationalism, its glorification of war, its ambivalence toward corrupting power and its selective, finally misguided attempt to brush off Shakespeare.
  29. Earthquake Bird
    For all its consideration, while Earthquake Bird adds up to a “real” movie, it’s too polite to add up to an entirely compelling one.
  30. I Lost My Body
    The movie abounds with imagination, but is unfortunately too unnerving — even nauseating — to enjoy.
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