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 Hidden
    The movie is mostly a series of automobile chases through Los Angeles, but there is also some humor.
  2. Black Beauty
    Avis loses the novel’s sincerity by watering down Sewell’s animal welfare plea. In this update, the humans are not as villainous. Beauty is not as prominent. And the novel’s mustang spirit diminishes into a ho-hum horse movie.
  3. Borat Subsequent Moviefilm
    The elaborate ruses of Borat Subsequent Moviefilm left me neither entertained nor enraged, but simply resigned.
  4. Mosul
    Instant death lurks around every corner, and the movie doesn’t shy from killing off major characters. But it does play like an odd match of form and content: a story of single-minded humanitarianism framed as a relentless action spectacular.
  5. Some Came Running
    It is all very complex and confused. Indeed, it is so oddly garbled that John Patrick and Arthur Sheekman, who did the script, have to go for a melodramatic shooting to bring it all to a tolerable end.
  6. The Night
    The repetition of the visions and the film’s deliberate pace gives the audience too much time to guess which betrayals haunt Babak and Neda, and this lack of emotional suspense hampers the horror.
    • 80 Metascore
    • 50 Critic Score
    Bring Me the Head of Alfredo Garcia
    The movie's main problem is that the protagonist - the dead head - is a bore.
  8. Funny Boy
    Mehta’s elaborate long takes contribute to the general sense of tumult, but the film never fully shakes the sense of stating the obvious.
  9. The White Tiger
    The characters don’t quite come to life. They aren’t trapped by prescribed social roles so much as by the programmatic design of the narrative, which insists it is showing things as they really are. If it wasn’t so insistent, it might be more convincing.
    • 72 Metascore
    • 50 Critic Score
    Harry and Tonto
    The narrative of this sympathetic movie wobbles on the edge of sentimentality, though there are only a few sticky moments. But—unlike the novel, which moved swiftly—it has been directed at far too slow a pace, which means that the comic possibilities and the social comment have been diminished.
  11. The Endless Trench
    It’s fertile thematic ground, but as in most survival movies, showy feats of filmmaking take precedence over insight or revelation.
  12. The United States vs. Billie Holiday
    Like nearly everything else in this feverish, frustrating movie, the political themes are handled with maximal melodrama and minimal clarity.
  13. Supervixens
    It's full of the old Meyer preoccupations — insatiable women, impotent men, lonely desert landscapes in which the promise of sex is the only reliable compass. Yet something has been lost. Could it be innocence?
    • 57 Metascore
    • 50 Critic Score
    The Killer Elite
    Mr. Peckinpah is mannered and inventive, and these qualities both give the film its strengths and undermine it horrendously. Cleverness, for one thing, gets in the way of comprehensibility.
  15. Monsoon
    The ambience doesn’t register with full force, or do the heavy lifting entrusted to it. Monsoon finally tips over the line that separates minimalism from a not-fully-developed movie.
  16. The Princess Switch: Switched Again
    Yes, The Princess Switch: Switched Again is syrupy, and no, beyond its central gimmick, there is little substance to be found. But the same could be said for many a beloved romance film or holiday movie.
  17. Dolly Parton’s Christmas On the Square
    It’s bad, the sort of bad that knows what it is — campy rather than camp. “Campy” is camp with a diploma and a martini. And “Christmas on the Square” is a drunk.
  18. Transhood
    With so much ground to cover, the scenes’ shortness can feel unsatisfying and even occasionally facile. Though conversations between parents and their children are designed to be emotional beats, there’s a peculiar staginess that comes off as jarring at times.
    • 64 Metascore
    • 50 Critic Score
    The Red Tent
    Despite the false bid for suspense in its framing device and its several ritual claims to excitement, it finally lacks even the interest of its own events. For this, I think the director is very much at fault.
  20. White Christmas
    Everyone works hard at the business of singing, dancing and cracking jokes, but the stuff that they work with is minor.
  21. A Cops and Robbers Story
    The repetition of verbal and visual storytelling points to the limited scope of this film. A Cops and Robbers Story explores Pegues’s split loyalties, but the talking head interviews tend to isolate characters whose very intimacy is the subject of the film.
  22. Soros
    Even as hagiography, Soros is unfocused.
  23. 69: The Saga of Danny Hernandez
    Gandhi’s insights into Tekashi69’s psyche are limited, and some of his conclusions about the disgraced rapper’s character are bizarre.
  24. Family Business
    The three stars are good actors, but they have nothing much to work with. Their biggest challenge is to make the audience believe they are blood relatives, a question that would be quickly dismissed if the script were more compelling.
  25. Five Days One Summer
    Most of the movie is simply about mountain climbing, something that is undoubtedly more thrilling to attempt than it is to watch.
  26. Boss Level
    Roy grows as a killer over the course of the movie, which involves an increasingly tedious amount of repetitive violence played for laughs — he’s like Wile E. Coyote, brushing himself off after falling off a cliff or being blown up.
  27. Disco
    By the time it is over, Disco has crossed the line that separates being productively ambiguous from being simply cryptic.
  28. Reminiscence
    Highfalutin, lightly enjoyable mush, Reminiscence is one of those speculative fictions that are at once undernourished and overcooked. It makes no sense (despite all the explaining), but it draws you in with genre beats, pretty people and the professional polish of its machined parts.
    • 65 Metascore
    • 50 Critic Score
    On Moonlight Bay
    Although it strives to develop a genuine nostalgic mood, all that On Moonlight Bay seems to create, sadly enough, is the feeling that this film format is old hat.
  30. Just Cause
    Just Cause has been directed so antiseptically that it lacks all sense of lifelike detail. Despite good looks and some ostentatious technical polish, it offers a textbook example of direction (by Arne Glimcher) that's utterly out of sync with its subject matter.
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