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. Love Wedding Repeat
    Craig’s comic delivery belabors gags that should run light on their feet. Rather than serving up a variety of zingers, the movie settles for one joke per character, repeated endlessly. . . . Instead, the best bits of comedy come from physical slapstick.
  2. Bad Therapy
    Bad Therapy is the cinematic equivalent of lukewarm water.
  3. Dosed
    The shot-calling undermines the movie’s pro-psychedelics argument, because there is no way to control for the psychosomatic effects of starring in a documentary. Nor does Dosed do much to counter or even address objections to mushrooms or iboga as treatments, although it does include firm warnings about the need for supervision.
  4. Shithouse
    Raiff deserves credit for an unexpectedly elliptical coda, but much of the chatter between the leads has the emo-tedium of dorm room blather.
  5. Tigertail
    Spanning more than half a century, Tigertail goes back and forth in time, tracing the events that allowed Pin-Jui to achieve his American dream yet made him so aloof to his loved ones. It does this to mixed results.
  6. The Evil That Men Do
    Mr. Bronson is stony as ever, and a little more nattily dressed.
  7. Mossville: When Great Trees Fall
    The sub-90-minute run time isn’t an emblem of concision; the movie simply ends too soon.
  8. Obsession
    The Schrader screenplay, based on an original story by Mr. Schrader and Mr. De Palma, is most effective when it's most romantic, and transparent when it attempts to be mysterious.
  9. Fatherhood
    Despite Weitz’s sensitive direction and a superb cast — including Frankie R. Faison as Marian’s patient husband, DeWanda Wise as Matt’s patient love interest and Paul Reiser as his patient boss — Fatherhood can’t quite deliver.
  10. To the Stars
    It’s always nice to see characters break free, but you need to care whether they do. One insurmountable problem with this story is that Iris just isn’t interesting enough and certainly not developed enough either as a character or in terms of the performance.
  11. Random Harvest
    Random Harvest is a strangely empty film. Its characters are creatures of fortune, not partisans in determining their own fates. Miss Garson and Mr. Colman are charming; they act perfectly. But they never seem real. And a sense of psychiatric levels is not conveyed in either the script or direction.
  12. Nobody
    As slick as a blood spill and as single-minded as a meat grinder, Nobody hustles us along with a swiftness that blurs the foolishness of its plot and the depravity of its message.
  13. Spaceship Earth
    Like the project itself, Spaceship Earth winds up caught in the gulf between rigor and showmanship. As entertaining as it can be, it is also disappointingly deferential to its subjects — the work of a filmmaker in thrall to characters who have welcomed him inside the bubble.
  14. Lipstick
    The revelation of Lipstick is another Hemingway, first name Mariel, Margaux's 14-year-old sister, who plays her sister in the film. As the chief witness to the events within the movie, and its ultimate victim, she gives an immensely moving, utterly unaffected performance that shows up everything else as a calculated swindle.
  15. Who You Think I Am
    Because much of the rest of the story is so underdeveloped — notably Claire’s intimate life with her frustratingly generic children — the character overwhelms everything, including the fragile realism.
  16. 1BR
    Drawing on a fascination with cults and utopian communities, the director and co-writer, David Marmor, has created a mildly entertaining survival story whose depiction of psychological indoctrination far outstrips its generic dips into torture.
  17. Shazam! Fury of the Gods
    Sandberg started his career in small horror films, and doesn’t seem to have much ambition to scale up. Most of the sequences are cut from medium shots strung together without much style — they may as well be a "Saturday Night Live” sketch.
  18. Elvis
    In the end, this isn’t a biopic or a horror movie or a cautionary parable: It’s a musical, and the music is great. Remixed, yes, and full of sounds that purists might find anachronistic. But there was never anything pure about Elvis Presley, except maybe his voice, and hearing it in all its aching, swaggering glory, you understand how it set off an earthquake.
  19. Eating Up Easter
    Even with the personal elements, the lean feature also feels like an educational program, to a fault.
  20. Robert the Bruce
    There’s a pleasing humility and introspection to this Bruce — a ruler no longer sure if his patriotic purpose is worth the carnage. His joints may be stiffer than his resolve; but, in placing the warrior temporarily aside, Macfadyen and his director have helped us more clearly to see the man.
  21. The Plagues of Breslau
    A pulsating rage at the way society neglects women in particular, its weakest members in general, courses through the movie. More than the displays of flayed flesh, it’s what sticks.
  22. PAW Patrol: The Movie
    Yes, the computer-generated colors, overseen by the director Cal Brunker, are bright, the pups have soulful eyes . . . and the story line . . . is, um, a story line.
  23. Hotel Transylvania: Transformania
    Despite some flourishes (such as a mirror-like crystal cave), “Transformania” feels locked into the routine rhythms of its plotting and makes one-note jokes out of its human incarnations.
  24. My Darling Vivian
    The film, ultimately, still lacks Liberto’s own sense of agency.
  25. System Error
    If the movie’s points can be well taken, its rhetorical strategies are often facile.
  26. 15 Years
    Leopold and Persi are both compelling performers, but the writer-director Yuval Hadadi renders their characters with little subtlety.
  27. Chemical Hearts
    Despite the movie’s sympathy for the high stakes of Henry’s adolescence, the myopia of his point of view settles over “Chemical Hearts” like a layer of grime.
  28. McCabe & Mrs. Miller
    I don't automatically object to contemporary allusions, but I prefer to find them myself, and McCabe and Mrs. Miller is so busy pointing them out to us that the effect is to undercut its narrative drive and the dignity of its fiction.
    • 64 Metascore
    • 50 Critic Score
    Spelling the Dream
    Spelling the Dream is a film about winning, delivered with glossy visuals and a gratingly optimistic score that draws to a close with its champion showered in confetti — an obvious symbol for this overarching (and under-questioned) celebration of American multiculturalism.
  30. Clouds
    While Clouds is as doe-eyed and puppyish as an acoustic serenade, Baldoni is wise to recognize that attention must be paid to Zach’s survivors.
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