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 Other
    Thomas Tryon, the actor (The Cardinal), wrote the screen adaptation of his best-selling novel, which is in almost every way more precise, more complex and less ambiguous than the "Summer of '35" sort of movie Robert Mulligan has made from it.
    • 62 Metascore
    • 50 Critic Score
    Twins of Evil
    The rest of the costumed crew, led by that veteran horror hand, Peter Cushing, as the twins' witchhunting uncle, who chases the fanged Count and his retinue, hardly give Twins of Evil a good name.
  3. Cahill U.S. Marshal
    Cahill, United States Marshal was directed by Andrew V. McLaglen and written by Harry Julian Fink and Rita M. Fink. Perhaps recognizing the new limitations of their star, they spend a good deal of time trying to turn a conventional Western into a children-in-peril movie.
  4. Crisis
    The film is well-paced but often strains credulity.
  5. Blizzard of Souls
    “Blizzard” is almost immaculately shot and edited, but its good-taste approach to warfare, along with its treacly music score by Lolita Ritmanis, underscores what seems its main reason for being: a relentless “Go, Latvia!” agenda — which has extended to its marketing here.
  6. Indian Summer
    A decently acted, extremely mild romantic comedy that you may think you've seen before, although you haven't.
  7. Babylon
    There isn’t much going on other than the spectacle of its busily spinning parts, which might be tolerable if the first two hours weren’t so unrelievedly unmodulated, with everything synced to the same monotonous, accelerated pace. This hyperventilated quality initially serves the story and Chazelle’s concept of the era’s delirious excess, but the lack of modulation rapidly becomes enervating. After a while, it feels punishing.
  8. Finding 'Ohana
    A Gen Z crusade, hyper-aware of its Indiana Jonesian influences, is an entertaining conceit. But the plodding pace of Jude Weng’s film, along with its shabby dialogue, distracts from the more emotionally intricate subplot of the mother returning home to her father after her husband’s death.
  9. Harley Davidson and the Marlboro Man
    Mr. Rourke and Mr. Johnson handle their roles with more ease and humor than can be accommodated by a movie so stuffed with mindless fistfights, gunfights, helicopter chases, explosions and leaps from tall buildings.
  10. Crack: Cocaine, Corruption & Conspiracy
    Racial injustice, economic inequities, police corruption, media ethics and foreign-policy scandals are all crammed — a bit too cursorily — into Stanley Nelson’s brisk primer on the 1980s crack epidemic.
  11. The Map of Tiny Perfect Things
    Last year, “Palm Springs” proved that the time-loop conceit from “Groundhog Day” still had some laughs in it. The Map of Tiny Perfect Things shows it’s a perfectly fine pretext for teenage treacle.
  12. Killing Zoe
    Mr. Avary's debut feature, fiercely ambitious but way out of control, is an orgiastically violent exercise in hand-me-down nihilism, much more firmly rooted in cinematic posturing than in real pain.
  13. M.C. Escher: Journey To Infinity
    Whether anyone else, including Escher, would have done a more engaging job is debatable, but this movie, directed by Robin Lutz, offers an only intermittently satisfying look at his interests and methods. Don’t call it art; Escher felt his output hovered between art and mathematics.
  14. Dead Pigs
    It’s a tonal wild ride with eccentric characters, neon-lit settings and elaborately absurd detours. Unfortunately, the ripped-from-the-headlines meat of Dead Pigs gets lost in these affectations.
  15. Nightmare Alley
    Del Toro is a world builder, but he can have a tough time bringing his creations to life, which is the case here despite the hard work of his fine cast. The carnival is diverting, and del Toro’s fondness for its denizens helps put a human face on these purported freaks. But once he’s finished with the preliminaries, he struggles to make the many striking parts cohere into a living, breathing whole.
  16. Dr. Giggles
    The screenplay is stitched together from variations on cliches used by or about the medical community.
  17. Look Who's Talking Now
    Like an over-dressed Christmas tree, Look Who's Talking Now is a movie so eager to shine that it arrives draped in several layers of sentimental tinsel and cutesy-pie decorations.
  18. Son of the South
    Accepted on its terms, the film does a reasonably absorbing job of dramatizing how Zellner’s convictions strengthened, pulling him away from the security of inaction.
  19. The Reunited States
    Topical in broad strokes yet frustratingly allergic to particulars
  20. Softie
    Soko gets credit for not softening Mwangi’s landing, and the outcome of the election is dropped as nearly an afterthought to his valiant efforts. But the on-the-ground campaigning and complex history could use a better shape than the film’s fits and starts.
  21. Censor
    A homage of sorts to the low-budget trash of the period — and a mordantly humorous jab at its excesses — Censor gazes on movie history with style and commitment, but little apparent purpose beyond simulation.
  22. Prisoners of the Ghostland
    Sono’s visuals, sizzlingly realized by the cinematographer Sohei Tanikawa, lack neither brio nor imagination. But the ludicrousness of the plot severs any emotional connection to a story whose apocalyptic stylings (the Ghostland of the title is a nuclear wasteland) gesture toward Japan and America’s painful history.
  23. Alive
    Alive remains remarkably colorless, despite its difficult subject and the harrowing adventure it describes.
  24. Memphis Belle
    The direction by Michael Caton-Jones, the Englishman whose first theatrical feature was Scandal, is undistinguished here, but the material is not great.
  25. Fatal Instinct
    Carl Reiner's hit-or-miss film noir parody, a collection of gags that vary much too wildly in terms of timing and wit. All that hold this comedy together are a playful outlook and a conviction that detective stories are intrinsically funny, especially if the detective is as much of a blockhead as Ned Ravine.
  26. Nowhere to Run
    Though Mr. Van Damme's collaborators have become more upscale and mainstream, Nowhere to Run remains your basic exercise in kick-him-in-the-groin, stab-him-with-a-pitchfork cinema politics.
  27. Another Stakeout
    Another Stakeout is made for the kind of person whom television drives out of the house to the movies but who doesn't want surprises when he arrives at the theater. It's big-screen television fare.
  28. Army of the Dead
    With its sticky pacing and divinely unsubtle soundtrack (though The Cranberries’ “Zombie” is always excusable), Army of the Dead is an ungainly, yet weirdly mesmeric lump of splatter-pop filmmaking.
  29. Kid 90
    If the unremarkableness of the moments captured in Moon Frye’s footage is refreshing, it also makes for a somewhat insipid film.
  30. Language Lessons
    The twists in the story are meant to raise the emotional stakes, but they have the opposite effect, undermining the credibility of the premise. The harder the movie leans into its own cleverness, the more it exposes itself as a diverting but ultimately unconvincing exercise.
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