The New York Times' Scores

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For 20,323 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 20323
  2. Mixed: 8,448 out of 20323
  3. Negative: 2,467 out of 20323
20323 movie reviews
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  1. Film Geek
    I appreciate Shepard’s affection: I also grew up loving movies, and I found his wistful reminiscences of being awed by “Jaws” and “Star Wars” relatable. But Shepard’s level of self-regard can be stultifying.
  2. Treasure
    Whatever complexities might come across in the book don’t register in a film that has been fashioned, sometimes uneasily, into a sentimental father-daughter road movie.
  3. You're Cordially Invited
    There is something off about You’re Cordially Invited, some sense that the whole thing never clicks into place.
  4. Sight
    All of this is laid out in competent commonplace fashion, with the principal actors Terry Chen, Greg Kinnear and the always welcome Fionnula Flanagan displaying the expected professionalism.
  5. Marcello Mio
    Some might call it a “Keeping Up With the Kardashians” for fans of European cinema. Others might say it’s a trifle. The film’s ending, however, amounts to a bemused shrug.
  6. Armand
    By the end, a kind of narrative lethargy has set in. “Armand” feels mostly like an interesting formal exercise: an attempt to meld realism and surrealism in the most nondescript of places, but in a way that evokes an ancient terror.
  7. Wolfs
    The movie is a trifle, and it knows it. Mostly, though, Wolfs, written and directed by Jon Watts, is an excuse for its two leads to riff on their own personas, which can be faintly amusing and certainly watchable but also insufferably smug. It’s insufferable a lot.
  8. How to Rob a Bank
    There’s quite a bit to chew on in this story, matters the film points to but doesn’t really examine.
  9. The War Wagon
    The Wayne-Douglas Western looks like something that the two saddle-sore stars cooked up to kill time and make a little money... It's not a bad picture, just obvious.
  10. Federer: Twelve Final Days
    Federer describes himself as an emotional guy, but with the international press and his management team nearly always on the sidelines, there’s little privacy to get personal.
  11. Battle of Britain
    These sequences—the dogfights over Dover, the disintegration of planes in mid-air, the graceful tactics of evasion—are more than just technically stunning. They also are beautiful, in the completely impersonal way that the spectacle of machines—working well and seemingly with wills of their own—can be beautiful. Unfortunately, something less than one-third of the film takes place in the air.
  12. The Front Room
    The Front Room has its virtues, including the funereal production design, with its forlorn rooms and faded wallpaper. Yet from its goo to boos, the whole enterprise is so familiar and at times rote that it feels as though Sam and Max Eggers haven’t so much directed the movie as reverse-engineered it.
  13. My Spy: The Eternal City
    Too often this muddled movie, which never really settles on a tone, plays its espionage plot points with a dour seriousness that’s at odds with a teen comedy.
  14. Here
    Don’t force a plot to emerge. Better to experience “Here” like open-eyed meditation, nodding at connections and ideas so fragile they’d disintegrate if said aloud.
  15. The Day the Earth Blew Up: A Looney Tunes Movie
    The movie’s energy doesn’t pay off in dividends of real pleasure. Anarchy has never been so mere as it is ultimately rendered here.
  16. We Live in Time
    Almut’s ambitions give her spark and grit, and they make the character appealingly contemporary, as does Pugh’s vibrancy and emotionally charged performance. The actress handles the shifting periods and deepening drama adroitly, even when the filmmakers begin selling out her character.
  17. Join or Die
    Throughout, the film unabashedly adopts Putnam’s doctrine: Become a joiner or democracy is doomed. Some of the film’s points feel simplistic, and questions linger.
  18. Nutcrackers
    The film gets better whenever Stiller recedes into the background, but the movie’s insistence on Michael’s redemption story as the main narrative thread hurts it. It’s impossible to care too much about this pompous, uptight, strangely boring guy. Especially because we know how his story will end.
    • 60 Metascore
    • 50 Critic Score
    Gone to Earth
    Powell and Pressburger have hammered the ingredients with blunt, unyielding strokes, seasoned with vague psychological clangings and only remotely tempered with humor and real perception.
  20. The Conjuring: Last Rites
    The film is a disappointing send-off; more an eccentric family drama than a real chiller.
  21. Power Ballad
    There are some promising themes in “Power Ballad” — the soulful joys of collaboration, the precarity of celebrity, the evils of the music industry — but the movie never develops them. Instead, the director John Carney, who wrote the script with Peter McDonald, keeps everything nice and insistently light, gesturing at complexities rather than delving into them.
    • 58 Metascore
    • 50 Critic Score
    Dillinger
    In making his debut as a director, Mr. Milius gives us a "Dillinger" that is fascinating for its speed, action and firepower. But as character studies of decidedly interesting types out of explosive history, "Dillinger" shoots blanks most of the time.
  23. I'll Be Right There
    Even as the gifted actresses trade jabs and punchlines gamely, the moments leave a sour taste.
  24. Close to You
    As attentive as Close to You is to family dynamics, its dialogue, which the actors largely improvised, rarely achieves verisimilitude.
  25. Lost on a Mountain in Maine
    “Lost on a Mountain” never fully achieves its complicated halcyon aims.
  26. Freakier Friday
    By the middle of the film, the narrative also begins to stutter, set piece after set piece, caper after caper, loping toward the inevitable moment of collision and resolution, without always maintaining the narrative tension to keep things interesting. Since we know where this is going, these bits need to be really funny, not just broadly perfunctory jokes about how generations don’t understand each other.
  27. The Lord of the Rings: The War of the Rohirrim
    “The War of the Rohirrim” is worth a watch for the Tolkien faithful, especially as a fresh way to adapt the author’s work.
  28. The Falling Star
    The Falling Star offers little in the way of dramatic tension or intrigue, and its comedy, mildly clever at first, starts to feel repetitive. The word “tedious” popped into my mind a few times, perhaps because the world of the film is so small that it starts to feel airless and lacking in surprise.
  29. Apartment 7A
    It’s passably spooky, sure. But all interesting prequels have something in common: They shed new light on their predecessors that expands, illuminates or complicates them in some way. Apartment 7A feels like a predictable retread.
  30. Kill the Jockey
    The director, Luis Ortega, doesn’t give much reason to care about Remo’s conflict — the protagonist’s catatonia inspires the same in the viewer — and instead exhausts his efforts on a mannered blankness of style and mood.
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