The New York Times' Scores

Select another publication »
For 20,313 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: 9,401 out of 20313
  2. Mixed: 8,446 out of 20313
  3. Negative: 2,466 out of 20313
20313 movie reviews
view
per page
  1. Madrid, 1987
    Sweet, sometimes dull and certainly overlong.
  2. Unmasked Judeophobia
    In the end the issues of anti-Semitism and anti-Zionism are conflated, weakening the filmmaker's argument. Ultimately the varying points are way too much to take on in one film.
  3. Dinotasia
    Neither educational nor engaging.
  4. Dust Up
    Flaunting gross-out violence and cartoonish trappings, Dust Up is the sort of self-impressed tedious effort that many thought had died with the post-Tarantino imitations of the 1990s.
  5. The Bay
    There is a lot of nasty stuff to look at, but very little that is genuinely haunting, jolting or terrifying.
  6. Struck by Lightning
    Except for Ms. Janney's monstrous mother and an Alzheimer's-afflicted grandmother (Polly Bergen), Struck by Lightning gives its characters no dimension.
  7. Festival of Lights
    It ends up being largely just another story about a rebellious American teenager.
  8. Coming Up Roses
    The grittier side of Coming Up Roses, which Ms. Albright wrote with Christina Lazaridi, is unconvincing boilerplate grunge.
  9. Shady Lady
    It comes as no surprise that the director, Tristan Loraine, comes from a background as an airline captain and a documentarian. Perhaps those jobs make best use of his skills.
  10. Gottfried Helnwein and the Dreaming Child
    The backstage commentary circles around the bailiwick of a production designer and frustrations over Mr. Helnwein's literal interpretations. But they are rarely juicy or pursued in depth, and platitudes abound (with the exception of a matter-of-fact lighting designer named Bambi).
  11. Back to 1942
    It catalogs agony without making you feel it.
  12. The Normals
    The satire - about religion, medicine, TV culture - is larded unevenly, the homage overly obvious.
  13. Parked
    Parked collapses into sentimentality that not even an actor of Mr. Meaney's dignity and restraint can redeem from mawkishness.
  14. Young and Wild
    It's more about adolescent attitudes than the thrust of a story, yet the film's sexual intelligence is undone by a paralyzing voice-over and an encroaching case of the blahs.
  15. The Purge
    The message just gets louder and louder, cruder and cruder, which is too bad because Mr. DeMonaco knows how to set a stage.
  16. Allegiance
    This well-acted debut feature from Michael Connors (a former Army captain) is too limited in ambition and scope to satisfy our expectations.
  17. My Best Enemy
    An awkward blend of anti-Semitic atrocities and identity-swapping absurdity, the World War II drama My Best Enemy struggles to find a convincing tone.
  18. The Baytown Outlaws
    The Baytown Outlaws" avidly subscribes to the grindhouse aesthetic of Quentin Tarantino and Robert Rodriguez. If it has the right spit-in-your-face attitude, it has neither the stamina nor the wit to go the distance, although it makes it about two-thirds of the way.
  19. Let My People Go!
    Reuben is a whiny and uncoordinated prodigal son. His constant chafing at himself and the world is the film's biggest problem; by the midway point we're all wishing him back in Finland where he belongs.
  20. Brief Reunion
    The film's biggest weakness is its unsympathetic main character, a snippy, nervous, expressionless control freak who gets more despicable as the story unfolds.
  21. Tomorrowland
    Its idea of the future is abstract, theoretical and empty, and it can only fill in the blank space with exhortations to believe and to hope. But belief without content, without a critical picture of the world as it is, is really just propaganda. Tomorrowland, searching for incitements to dream, finds slogans and mistakes them for poetry.
  22. The Brass Teapot
    The movie’s best bits lose out to the requisite moral turnaround.
  23. Emperor
    Mr. Jones’s performance is the only spark within this otherwise dull, well-mannered exercise.
  24. The End of Love
    Mr. Webber, a skilled actor, has not devised a narrative with sufficient momentum or tension to sustain much interest.
  25. Reincarnated
    Snoop has certainly tempered his worldview, but enlightenment isn’t as evident here as much as a woozy weariness, perhaps a long-term byproduct of being very, very stoned.
  26. Back to the Future Part III
    Except for Mr. Lloyd, the film is so sweet-natured and bland that it is almost instantly forgettable.
  27. I'm So Excited
    The journey generally drags because the spinning characters, with their tired jokes and familiar melodramas, soon feel so mechanical, like the automated parts in an Almodóvar machine.
  28. Xanadu
    Like The Wiz...Xanadu is desperately stylish without having any real style.
  29. Lost in Thailand
    Like many broad successes this unremarkable movie proves decidedly reluctant to yield any golden secret to box-office bonanzas, unless you count tried-and-true chase formulas and a moral about rethinking priorities.
  30. Planes
    Planes is for the most part content to imitate rather than innovate, presumably hoping to reap a respectable fraction of the box office numbers of “Cars” and “Cars 2,” which together made hundreds of millions of dollars (not to mention the ubiquitous product tie-ins).
Page:

Top Trailers

See all »
See all trailers »