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. Bloody Nose, Empty Pockets
    Seen with or without foreknowledge of its methods, Bloody Nose, Empty Pockets is only fitfully engaging — suspect as documentary, insubstantial as fiction.
  2. The Nowhere Inn
    Formally lively, The Nowhere Inn is a true meta exercise in the sense that the more derivative and self-conscious its conceptual gambits seem (stick around: The reflexivity continues after the end credits), the more it proves its ostensible point.
  3. Zola
    There is plenty of drama, and some hard feelings . . . but not a lot of intrigue or honest emotion. I guess if that’s what you’re after, it’s best to stick to Twitter.
    • 31 Metascore
    • 50 Critic Score
    The Legacy
    A horror film that is not so much frightening as it is depressing. It is thin and dopey, which is perfectly O.K., but in place of invention it uses contrivance, and in place of imagination it uses shock.
  5. Panga
    Tiwari is better at probing the emotions under the drama than building a nail-biting, rah-rah finish, though she tries.
  6. Just Don't Think I'll Scream
    By the time Beauvais dismisses some chestnut trees as “bland,” the movie screams nothing so much as the pained self-absorption of depression — an anguished revelation, but dead-on.
  7. The Courier
    Though Jessie Buckley, as Wynne’s suspicious wife, and Rachel Brosnahan, as an amusingly pushy C.I.A. operative, add welcome jolts of female energy, The Courier is essentially the story of an extraordinary male friendship. The men’s mutual compassion peaks too late to save the picture, but is no less moving for that.
  8. The Man from Snowy River
    To appreciate it fully, however, one must have a completely uncritical fondness for Kirk Douglas as he acts his heart out in two roles; for picturesque landscapes; for silly plots, and for dialogue that leans heavily on aphorisms too homespun to be repeated in a big-city newspaper.
  9. Into the Night
    A little bit of Into the Night is funny, a lot of it is grotesque and all of it has the insidey manner of a movie made not for the rest of us but for moviemakers on the Bel Air circuit who watch each other's films in their own screening rooms.
    • 58 Metascore
    • 50 Critic Score
    The Glorias
    The intersectional core of the movement is rightfully emphasized, yet in the apparent push to make this movie as instructional and inspirational as possible, the dialogue gets saddled with some heavy-handed exposition.
  11. Minions: The Rise of Gru
    Amiable and colorful as it is, the movie is also spectacularly inconsequential.
  12. The Stepfather
    The Stepfather is too often disappointingly thin.
  13. Ironweed
    Despite its nearly two-and-a-half-hour running time, its superstar cast and its $23 million budget, Mr. Babenco's Ironweed is skeletal, a mere outline of Mr. Kennedy's far more resonant book.
  14. C'mon C'mon
    C’mon C’mon is a nice movie about characters who are so nice that I almost feel bad for not being nicely disposed toward them or this movie, even with Joaquin Phoenix as the guy and Gaby Hoffmann as the sister.
  15. Agnes of God
    The material itself, thoroughly unsurprising on the stage, is if anything even more so on the screen.
  16. Balloon
    There is nothing objectionable about Michael Bully Herbig’s glossy political thriller, Balloon, but there’s nothing particularly exciting about it, either.
  17. Jinpa
    As amusing as these interludes are, they read as attempts to force an exaggerated sense of mystery into an ultimately simple and moralistic tale about the futility of vengeance.
  18. Rhinestone
    Rhinestone isn't unrelievedly terrible. It is helped by a director, Bob Clark, who treats the material good- humoredly and takes it lightly, as well as by a funny supporting cast.
  19. Iceman
    Having been handed a script that, at its best moments, is a wan though benign reminder of the original version of The Thing, Mr. Schepisi seems uncertain whether to distract the audience's attention by decor or to send up the cliches of a certain kind of science-fiction. Unfortunately, he plays it straight most of the time. [16 May 1984, p.17]
    • The New York Times
  20. The Wild Life
    Something like a sequel to Fast Times at Ridgemont High. The characters are different, but the perspective on teen-age Americana, West Coast-style, is very much the same. This time around, though, the material is less funny.
  21. Fatale
    While this latter-day noir never builds up the froth of lurid delirium that brings genre pictures into a headier dimension, it’s got enough juice to hold your attention.
  22. The River
    The River has a meticulously detailed physical production and, from time to time, is acted with passion by its cast. Yet its ideas are so profoundly muddled that the film must run mainly on sentimentality.
  23. The Name of the Rose
    The movie is full of the kind of atmosphere that can be created by elaborate sets, dim lighting and misty landscapes, though it has no singular character or dominant mood.
  24. The High Note
    The High Note is pleasant enough but disappointingly timid and thoroughly implausible.
  25. The Best of Times
    THE muddy football game that concludes The Best of Times is such a rouser that it almost makes up for the incomplete passes and stopped runs that precede it.
  26. Malmkrog
    Imagine a Chekhov play without drama, an Oscar Wilde farce without humor, a Visconti film without desire, or a very long party at the home of a distant acquaintance, and you will have some idea of Malmkrog, Cristi Puiu’s latest film.
  27. Sea Fever
    It’s all very resonant stuff, performed by an earnest and committed cast. But Sea Fever speeds through these turns of plot as if to check them off a list, with characters dropping dead before they’ve had a chance to earn our sympathy.
  28. The Clan of the Cave Bear
    [It] has a gentle approach to its characters and an occasionally striking visual style. What it doesn't have is much momentum or originality.
  29. Inside the Rain
    Based on Fisher’s own life experiences, Inside the Rain switches erratically between comedy and drama while juggling many half-realized plot threads. But the movie’s strange, inconsistent rhythm ultimately works as a reflection of Ben’s manic and depressive states.
  30. Pennies from Heaven
    Miss Peters is funny and charming lip-synching Helen Kane's I Want to Be Bad, and Mr. Martin is something of a revelation as a danceman. The movie, though, is not easy to respond to. It's chilly without being provocative in any intellectual way.
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