The New York Times' Scores

Select another publication »
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
view
per page
  1. Crush
    It is clear from the offset which sibling will win both Paige’s affection and the obligatory climactic smooch. The journey there can drag. More fresh is the movie’s sex-positive empathy.
  2. Operation Mincemeat
    Operation Mincemeat is overall light on remorse and far more interested in intrigue, both political and romantic.
  3. Meat the Future
    If you’re not well-versed in bioengineering or food regulation, it’s a bit of a slog.
  4. Boys' Night Out
    Michael Gordon's direction is not as nimble as it was on "Pillow Talk."
  5. Father Stu
    Stu’s travails feed into his salty homilies about getting closer to God, delivered with Wahlberg’s usual bluffness. That doesn’t automatically translate into a religious experience, and watching the movie can feel like a two-hour hearty handshake.
  6. Halftime
    In Halftime, she is seen in top J. Lo form, an empowering Hollywood icon with an inspirational story to share. Is that reason enough to watch this scattershot portrait? It depends on if she had your love to begin with.
  7. Somewhere in Queens
    Here, Romano sticks to the outer-borough Italian American milieu of his series. The results are mixed.
  8. The Equalizer 3
    Washington is unsurprisingly the primary reason to watch “Equalizer 3,” which is basically a showcase for him to smolder, swagger and light up the screen as he wanders a tiny, wildly beautiful town on the Amalfi coast.
  9. Marvelous and the Black Hole
    Cech is believable as a troubled teenager, and it’s refreshing to see an Asian American girl as a protagonist, but the film has a limited emotional range, jumping among several plot elements without fully fleshing them out.
  10. A Perfect Pairing
    It’s all so anodyne that the also-obligatory girl-gets-mad-at-hunk plot turn before the love-conquers-all finale feels like being shaken awake during a dream of drowning in butterscotch sunsets.
  11. Bad Roads
    The four wartime stories in “Bad Roads” fall short on delivering any meaningful insight into the nature of conflict, relying instead on moments of lackluster tension and shock value that greatly overstay their welcome.
  12. Brian and Charles
    Too soon, however, this intriguing psychological study turns into a programmatic geeks-vs-bullies story that relies on pushing the easiest emotional buttons.
  13. Jerry and Marge Go Large
    While the movie sustains levity, its lack of subtlety — and a lack of stakes, save for sweepstakes — make for an altogether bland bonanza.
  14. Dangerous Liaisons
    The director Rachel Suissa runs Laclos’s story through a heavy Instagram filter in this outlandish, flimsy adaptation.
  15. Spiderhead
    Kosinski can’t make the inane philosophizing about free will sound profound or new, and the hectic, hasty finale, lacking the nerve or chilly interiority of the original story, plays like something that blew up in the lab.
  16. Human Factors
    The tone is too rigidly intellectual for the movie to succeed as a tense thriller. But the actors are up to the challenge of not so much sharing scenes as coexisting within them, particularly Timoteo as the embittered wife who roils like a teakettle that has been welded shut.
  17. Three Thousand Years of Longing
    Despite Miller’s talent and feverish enthusiasm, and the gravitational pull of his stars, the movie’s colorful parts just whir and stop, a pinwheel in unsteady wind.
  18. Double Team
    Rodman, awkward but definitely lively, is the occasion for har-har hair jokes ("Who does your hair, Siegfried or Roy?") and gives the film some much-needed comic relief. Rourke, as a villain named Stavros, is scary. And for once, he's supposed to be.
  19. Rodeo
    The guarded Julia certainly intrigues, but too often the film sinks into the clichés of a rugged character study — no wonder she prefers to accelerate.
  20. They/Them
    Logan, who also wrote the screenplay, feels so averse to engaging with the thorny political implications inherent in this material — of having to negotiate a cast of gay, transgender and nonbinary characters in a horror context — that the whole thing winds up seeming rather tame.
  21. Disenchanted
    Adams doesn’t gain much by returning for Disenchanted, a cluttered and noisy sequel directed by Adam Shankman from a screenplay by Brigitte Hales. Neither does the original film’s fan base.
  22. Mondocane
    At its grungy heart, Alessandro Celli’s Mondocane is about the dissolution of a friendship. Yet this cynical, near-future crime thriller, with its Hunger Games morality and Mad Max aesthetic, is too busy glamorizing cruelty to allow its central relationship to resonate.
  23. Torn Hearts
    Unfortunately, the script is too disjointed to keep its own complex characters afloat. Little is revealed as the plot bounces from one climax to another, making any eventual bloodshed feel exhausting and unearned.
  24. Cyber Hell: Exposing an Internet Horror
    What could have been an urgent inquiry into the systems enabling sex criminals becomes something more pedestrian — a stylized replay of a game of cat and mouse.
  25. Hollywood Stargirl
    Hollywood Stargirl could be seen as a filmmaking exercise. How do you build a story around a character who was auxiliary by design? Hart’s solutions are manifold, but her most effective one is to quash the grating altruism that drove Stargirl in the first movie.
  26. Zombies 3
    This is not your mother’s Disney Channel, and thank god. All of the “Zombies” movies are brimming with camp delights, as though the crew watched “But I’m a Cheerleader” while dropping acid. This is particularly true for Zombies 3.
  27. Paulie Go!
    Directed by Andrew Nackman in his feature debut, Paulie Go! unabashedly aspires to the sentimental whimsy that once swamped film festivals, and certain moments — including a self-consciously awkward dance scene — seem near quotations of dozens of offbeat movies that came before.
  28. My Old School
    Its fascination with Brandon becomes a kind of credulity, a willingness to accept uncritically the mystifications of a proven liar.
  29. 18½
    The film’s referential pleasures feel insubstantial, diminished by the direct comparison to more meaningful works of the period.
  30. A Goofy Movie
    A Goofy Movie is engaging in its mild-mannered way, but the story is too rambling and emotionally diffuse for the title character to come fully alive.
Page:

Top Trailers

See all »
See all trailers »