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. Swamp Dogg Gets His Pool Painted
    This fans-only documentary gets bogged down with dull asides.
  2. The Trouble with Jessica
    A critique about the hypocrisies of the righteous upper middle class unfolds halfheartedly, leaving us with performances that might’ve worked better in a sketch comedy scene.
  3. Turnabout
    So far as we're concerned, this self-conscious fantasy of a husband and wife who reverse their biological status is a tired and tiresome jape, as subtle as a five-cent stogie and just as aromatic.
  4. Angel on My Shoulder
    The story is so imitative—and is repeated so dutifully—that it's hard to feel any more towards it than a mildly nostalgic regard.
  5. The Smashing Machine
    Johnson’s performance is the magnetic center of the film, and unless you’re a huge fan of watching this kind of fighting, it’s also the whole reason to watch the movie.
  6. I Know What You Did Last Summer
    If only these intriguing elements were attached to a more exciting film: We may live among our ghosts, but it’s only fun if they’re actually scaring us.
  7. Rust
    What is undeniable is that because Rust looks as good as it does, every time riders on horseback appear against a florid sky, it isn’t the characters you think about — it’s Halyna Hutchins.
    • 68 Metascore
    • 50 Critic Score
    It Came from Outer Space
    Merely mildly diverting, not stupendous.
  9. Electra
    What’s not convincingly nailed by the film’s moody bravado is the grief propelling its flirtatious and fraught quartet toward presumptive tragedy.
  10. Sketch
    A children’s film that fares better with its nimble special effects than its clunky dramatics.
  11. The History of Sound
    The History of Sound doesn’t trust its own gentleness, and the inertia of the filmmaking gives the whole affair a detached, try-hard feeling.
  12. Honey Don't!
    Cooke and Coen’s winding narrative feels muted and underdeveloped, making the film’s offscreen deaths and treacherous reveals feel less like cosmic twists of fate than speed bumps that yield small chuckles and sighs.
  13. Echo Valley
    Battling downpours and an abundance of nighttime shadows, the cinematographer Benjamin Kracun adds a classy, coppery richness where he can. But “Echo Valley,” directed by Michael Pearce (whose 2018 feature debut, “Beast,” mingled equally dissonant themes with far greater dexterity), is ultimately undone by Brad Ingelsby’s distracted script.
  14. The Kiss
    Despite the best efforts of the cast and technical crew here, The Kiss winds up in the land of “meh.”
  15. Eleanor the Great
    There’s enough in Eleanor the Great to still make it watchable, especially the genuinely moving intergenerational connection between two women who need each other to move past their particular grief. If only the world around them had been developed more carefully, too.
    • 67 Metascore
    • 50 Critic Score
    Secret Agent
    It is a defect of the screen narrative that all the spies seem to be continually engaged in melodramatic shadow boxing and that the authors, who couldn't have been Mr. Maugham, never really make out a case for the necessity of spying and never convince you that there is anything in Geneva worth spying on. But there are scattered high-lights.
  17. Jamaica Inn
    Jamaica Inn will not be remembered as a Hitchcock picture, but as a Charles Laughton picture.
  18. Fixed
    The film can’t quite fill in much beyond its initial wacky conceit, lacking the extra narrative and comedic pieces to match, for better or worse, a counterpart like “Sausage Party,” Seth Rogen’s own bawdy animation entry.
  19. The Man in My Basement
    Streamlined a little, it would have made for a rich text. But as it is, it’s too much to wade through.
  20. The Lost Bus
    Greengrass knows how to shoot and cut, but The Lost Bus is at once too high-minded and too exploitative to work. However skilled the cinematography and editing, there is no saving a movie predicated on looming death with badly written characters and such a frustratingly narrow point of view.
  21. Queens of the Dead
    It’s all meant to be viewed through the lens of camp, that increasingly diluted and all-too-broad category that here feels more like an excuse for the film’s flat construction than an aesthetic approach. Though you’ll get a few laughs out of its cast.
  22. The Travel Companion
    There is charm in the film’s allusions to New York City indie filmmaking, like the crew member who fibs that he’s shooting a mayonnaise commercial. But that specificity does not extend to Simon and Bruce’s bond, which consists of parallel play or the odd story about getting too stoned.
  23. All You Need Is Kill
    By narrowing the scope and condensing the logic of the action, this film undermines the excitement of the story, so even the day of an alien apocalypse starts to get tedious. That’s a great misfortune given the movie’s funky style.
  24. Scarlet
    “Scarlet” is peppered with a few exceptional moments of inspiration, but ends up caught in an awkward push-pull between Shakespeare’s text and the fantastical spaces where Hosoda’s vision extends.
  25. Ghosts of Mississippi
    True as it is, Reiner's film feels like the Hollywood version.
  26. Ballad of a Small Player
    Ballad of a Small Player contains a great story, but it’s bogged down by its trappings. Perhaps it just got a little too greedy.
  27. Steve
    In hewing closely to Steve, the whole affair takes on a grating note of self-sacrifice, of perseverance through suffering.
  28. Anaconda
    Rudd does his lovable simpleton shtick and manic Black carries on, as per usual, like a scruffy Don Quixote, but the film around them doesn’t quite keep pace with their go-for-broke absurdity.
    • 73 Metascore
    • 50 Critic Score
    The Burmese Harp
    This poetically photographed Japanese drama is an earnest but extremely circuitous and overstated antiwar film. It moves like a figure 8, making its point at the middle, then looping around for a second, none-too-convincing hour.
  30. Ella McCay
    Ella McCay is a bizarre movie that would have worked better if it went all-in as an homage to another era. Since we won’t get to see that version, you’ll just have to buckle up and enjoy the very strange ride.
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