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. My Stepmother Is an Alien
    Unlike the screenwriters, who often cross the thin line between wit and silliness as they outline Celeste's neo-I Love Lucy-isms, Miss Basinger reveals unfailingly sound instincts for comedy.
  2. Casanova, Last Love
    Though Jacquot throws into question our presumptions about figures like Casanova, as well as vilified women like La Charpillon, he leaves it at that, leaving us wondering what exactly it was all for.
  3. The Addams Family 2
    Where it could lean into the typically bone-dry Addams family humor, this film more often relies on poop jokes, explosions and the musical talents of Snoop Dogg. It’s sure to entertain little ones, but parents may find themselves itching for something more impish.
  4. Yellowbeard
    What Yellowbeard establishes is that for even the funniest of performers, a good script may be as essential as pitching is to baseball.
  5. Last Man Standing: Suge Knight and the Murders of Biggie & Tupac
    The new movie is less cohesive than “Biggie and Tupac,” and Broomfield is not suited to documentaries with willing subjects.
  6. Last Summer
    For all the beauty of its dazzling vacation setting, Last Summer coasts, but not toward any satisfying destination.
  7. Narrow Margin
    Though the story evokes old movie formulas - from Strangers on a Train to the 1952 film The Narrow Margin, which inspired it - this film does not reinvent them. It dully echos their conventions.
  8. As Tears Go By (1988)
    Easily summarized, the plot is entirely secondhand.
  9. Toofaan
    In Toofaan, the Bollywood director Rakeysh Omprakash Mehra attempts — with some success — to deepen the standard-issue sports drama with sociopolitical strife ripped from Indian headlines.
  10. The Restless
    Lafosse’s empathy as a director is admirable, but The Restless falls short of putting a compelling story to film.
  11. Ali & Ava
    The onscreen chemistry between them feels forced and flat, and the decidedly tame portrayals of physical intimacy only accentuate this absence.
  12. Between Two Worlds
    Carrère — known primarily in Europe as a writer of nonfiction books with a literary twist — applies a mood of cool journalistic sobriety to Marianne’s scandalous discoveries. . . Less compelling is the sentimental crisis that plays out because of Marianne’s deception.
  13. Plaza Suite
    In the case of Plaza Suite, I don't have the feeling that anything much has been lost, but rather that nothing much was ever there.
  14. Stuntman
    There’s something morbid about a world where a brave man is more scared of financial, than physical, risk. But that’s a leap this doc can’t take.
  15. My Little Pony: A New Generation
    However generic (just this year, “Raya and the Last Dragon” depicted a similar treasure hunt geared toward bringing together diverse groups), the film’s messaging about unity and the need for a new generation to band together against misinformation and rabble rousing isn’t the worst thing.
  16. Birds of Paradise
    Structured around a countdown to the ultimate prize, the story is a soapy slog of sabotage and betrayal. Sex and drugs are as prevalent as pliés, the absence of a likable character as irksome as the constant conniving.
  17. The Baby-Sitters Club
    The movie The Baby-Sitters Club offers the same comfort factor as the books, but suffers from a definite lack of excitement.
  18. Hard Luck Love Song
    Corsbie has filmmaking energy to spare but also makes many undergrad errors.
  19. Hinterland
    If only the story of Hinterland felt as engrossing and alive as its setting.
  20. Huda's Salon
    Where Abu-Assad falters is in turning Huda into a didactic mouthpiece for the very themes that Reem’s tribulations, filmed up-close with a jerky camera, convey effortlessly.
  21. The Dark Backward
    Mr. Rifkin's direction does display, in addition to an appreciation of Mr. Lynch and perhaps John Waters, a promising eye for design and a taste for the unusual. With less noxious material and a less patronizing manner, those talents would amount to a lot more.
  22. The Transformers: The Movie
    These robots transform in a flash; the colors are shocking pinks and electric greens; the film is packed with one-to-one combat, large-scale battles and exploding planets. Despite these improvements, though, the movie is not for anyone too grown-up.
  23. Bob Ross: Happy Accidents, Betrayal & Greed
    The melancholy result is that the painter with the spectacularly lulling voice, the hallmark ’fro and the liberating kindness remains a mystery; not the brand that’s made millions but the guy who touched millions.
  24. The Last Thing Mary Saw
    The Last Thing Mary Saw is as surprising as it is frustrating.
  25. Small Engine Repair
    The film, which Pollono also directs, provides more depth than the original but still flounders in the translation from stage to screen.
  26. Clean
    Clean has some real craft, but doesn’t quite satisfy as it toggles between bloodbaths and bathos.
  27. Sundown
    Sundown lands more like a one-note thought exercise than a fully fleshed out story.
  28. Dogs
    One can imagine how the particularities of the Romanian bush might yield novel dynamics. Instead, Dogs underplays these elements and commits to the beats of the slow burn thriller in mostly generic form.
  29. Oscar Peterson: Black + White
    “Black + White” does feature plenty of Peterson’s music, including several cover renditions performed in tribute for the film by a contemporary ensemble. But at almost every opportunity, Avrich undermines these numbers by cutting to one of an endless lineup of talking heads, usually to repeat predictable platitudes about Peterson’s brilliance.
  30. Don't Worry Darling
    Wilde does some fine work here, despite hammering the same notes early and often . . . But she isn’t a strong enough filmmaker at this point to navigate around the story’s weaknesses, much less transcend them. That’s especially tough on the actors.
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