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. To Olivia
    How parents mourn a child’s death together — or apart — is among life’s aching mysteries. The director John Hay plumbs the poignancy well but avoids any tussling with Dahl’s legacy, tarnished by antisemitic statements.
  2. Creation Stories
    “Stories” does have a handful of funny and affecting scenes. But it’s most interesting when McGee, after sobering up, makes an ill-advised alliance with Tony Blair.
  3. Metro
    But long before the last car has been flipped, this flurry of flying metal has lost its edge. The vehicular pirouettes and ski jumps are so exaggerated that they correspond neither to the urban geography nor to the laws of physics. And the jiggling camera can't blur the careless mechanical stitching in a sequence that tries to make up for in length what it lacks in inventiveness.
  4. Gustav Stickley: American Craftsman
    The movie itself, directed by Herb Stratford, is so dull and unimaginative in its presentation — talking heads, an overused score that might as well have been downloaded from a free database — that it makes for an unfortunate match of subject matter and form.
  5. The Grass Is Greener
    Miss Kerr and Miss Simmons look attractive and Mr. Grant and Mr. Mitchum try hard to create the illusion of being moved by love and passion. But they both appear mechanical and bored. [24 Dec 1960, p.8]
    • The New York Times
  6. Six Minutes to Midnight
    The double-crosses are depicted by the director Andy Goddard with better-than-average craft, but the more the movie leans into old suspense conventions the more interest it loses, alas.
  7. Bombay Rose
    The movie is lovely, but airless and bolted with scraps that barely hold together.
  8. Final Analysis
    Phil Joanou's Final Analysis is an entertaining exercise in psychological suspense up to a point. Then the ghost that has been pleasurably haunting it, that of Alfred Hitchcock's "Vertigo," turns out to be an illusion, and the real villain is revealed as that implacably clear-eyed monster, demon logic.
    • 42 Metascore
    • 50 Critic Score
    Terror Train
    The intention here was to make a thriller, a suspense movie about some people trapped on a train, waiting for an unknown killer to strike. The problem is that they don't do very much else except wait.
  10. Damage
    Not even a film maker of Mr. Malle's intelligence and taste can make this stilted story add up. The only ingredient that can make sense of "Damage" is the obvious one: outright eroticism, of the sort that presumably got the film its original NC-17 rating.
  11. The Power
    The film stumbles in delivering a cohesive vision.
  12. Gladiator
    Only the film's resolution has any spirit or novelty, and even that goes all the way back to the Roman Colosseum. Quicker than you can say "Spartacus," two fighters figure out that their real enemy is outside the ring.
  13. WeWork: Or the Making and Breaking of a $47 Billion Unicorn
    On why what now looks like a tenuous, bluster-based business model would appeal to Wall Street, the director, Jed Rothstein, spends less time than he should.
  14. The Tunnel
    The human dimension is painfully cliché, and Oie’s clunky orchestration of intersecting individual stories flattens the film’s overall momentum. It does, however, manage to eke out moments of genuine suspense and harrowing claustrophobia with its straightforward premise and contained, small-scale action.
  15. LUZ
    The film’s writer and director, Jon Garcia, treats the physicality of their romance in a frank way, staging realistic love scenes that show the attraction between the characters. But Garcia is less adept at finding passion in between scenes of sex.
  16. Women Is Losers
    It’s arguable that Celina’s emotional distance is a true reflection of how working class women manage their feelings in order to cope. But it could be dissatisfying to a viewer craving to see women’s interior lives; their pain rather than their resilience.
  17. Violet
    Crowding the screen with jarring sounds and disturbing visuals, Bateman experiments with so many cinematic frills and fancies that Munn’s touching work is too often obscured.
  18. The Legend of Molly Johnson
    It’s an earnest film, one that glows with pride at Aboriginal resilience. But the impression it leaves is didactic, a saints and demons fable that meanders to foregone conclusions.
  19. I Confess
    Even though moments in the picture do have some tension and power, and the whole thing is scrupulously acted by a tightly professional cast, the consequence is an entertainment that tends to drag, sag and generally grow dull. It is not the sort of entertaiment that one hopefully expects of "Hitch."
  20. Seaspiracy
    Even the film’s notable points seem to emerge only briefly before sinking beneath the surface, lost in a sea of murky conspiratorial thinking.
  21. Lassiter
    Even by the standards of escapist entertainment, little of Lassiter seems to matter.
  22. The Hitman's Wife's Bodyguard
    The Hitman’s Wife’s Bodyguard is loud, lazy, profane and well nigh incoherent. It’s also at times quite funny, with a goofy vulgarity that made me giggle.
  23. A Shock to the System
    Andrew Klavan's screenplay, adapted from a novel by Simon Brett, comes up with funny lines now and then, but it never has any clear idea whether it is a black comedy, a satire or maybe even a psychological study of a serial killer.
  24. Percy Vs Goliath
    Sentimental and a little corny in parts, “Percy” is protected from bathos by Walken’s proudly minimalist performance as an intensely private man reluctantly drawn into an uncomfortably public fight.
  25. The Banishing
    The Banishing never finds its groove.
  26. White Sands
    Roger Donaldson's White Sands is set entirely in the vast painterly landscapes of the American Southwest, but it means to be a suspense thriller reflecting the scaled-down undercover realities of the post-cold-war era. In fact, it's almost as difficult to follow as the politics of the federation that replaced the Union of Soviet Socialist Republics, and as difficult to remember as that federation's official name.
  27. Monster
    Based upon a 1999 young-adult novel by Walter Dean Myers, Monster conveys the ache for all that its protagonist could lose, but it can’t escape the dramatic ruts of its own creation.
  28. Bride of Re-Animator
    Bride of Re-Animator is less a sequel to the critically praised 1985 horror film Re-Animator than a rehash based on the same H. P. Lovecraft stories.
  29. Looking for a Lady with Fangs and a Moustache
    At least for the uninitiated, the drift of the filmmaking seemed to fall short of the transcendence envisioned by its story.
  30. HouseSitter
    Too much of the film seems unfinished. Almost every four scenes could be condensed into one. The comedy doesn't build to any climax. It just rolls on, with Ms. Hawn doggedly working to create some sense of oddball fun. The characters, as written, are as flimsy as Newton's dream house, which, even though based on a House Beautiful award-winning design, looks less habitable than a billboard. Even its brand-new furnishings are tacky.
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