The New York Times' Scores

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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
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  1. Ride
    As an instructional movie on the sport, Ride offers some useful tips, but beyond that, it feels like a slightly bizarre vanity project.
  2. Where Hope Grows
    Once the proselytizing takes over, so does the predictability.
  3. Cas & Dylan
    When the banter sputters, there is always the glorious scenery along the Trans-Canada Highway to divert you.
  4. The Film Critic
    The Film Critic is at once too clever by half and not as smart as it pretends to be.
  5. Far from the Madding Crowd
    The environment is more impressive than the slow, mawkish drama it contains, and the peasants are more assertive and colorful than the main characters. Scenes of sheepherding, farm gatherings, harvest suppers and assemblies at markets and fairs are more energetic and entertaining than the bloodless confrontations of the principals.
  6. Intrepido: A Lonely Hero
    Digressions involving suicide, child abuse, immigration and unions muddy the film’s meaning rather than illuminate it.
  7. Love
    As if all its artistic energy had been gobbled up by the fornication, Love has nothing left with which to build its characters or set them in motion.
  8. The Benefactor
    So long as the camera is studying Franny maniacally bestowing his largess or throwing temper tantrums, The Benefactor is mesmerizing. But Mr. Gere’s flamboyant performance is the sole raison d’être for this melodrama.
    • 73 Metascore
    • 40 Critic Score
    Mad Max
    Mad Max is ugly and incoherent, and aimed, probably accurately, at the most uncritical of moviegoers. [14 June 1980, p.13]
    • The New York Times
  10. Wild Horses
    The one solid element in Wild Horses is Mr. Duvall’s squinting, stone-faced portrayal of a gruff, crusty patriarch beginning to crumble.
  11. Dark Was the Night
    The trouble lies in Tyler Hisel’s script, which teems with wheezy conventions.
  12. Valerian and the City of a Thousand Planets
    To say that “Valerian” is a science-fiction epic doesn’t quite do it justice. Imagine crushing a DVD of “The Phantom Menace” into a fine powder, tossing in some Adderall and Ecstasy and a pinch of cayenne pepper and snorting the resulting mixture while wearing a virtual reality helmet in a Las Vegas karaoke bar. Actually, that sounds like too much fun, but you get the idea.
  13. What We Did on Our Holiday
    A damp-eyed comedy whose banal title isn’t the only thing needing improvement.
  14. Felt
    This vague, arty horror film from Jason Banker (“Toad Road”), who shares a story credit with his star, Amy Everson, is at once underwritten and overconceptualized.
  15. Lila & Eve
    The main, and perhaps the only, reason to see the revenge thriller Lila and Eve, a shallow, cut-rate “Thelma and Louise,” is for the thunderous lead performance of Viola Davis.
  16. The Program
    The Program, much to its detriment, concentrates almost exclusively on the history of the doping effort.
  17. Any Body Can Dance 2
    For all the movie’s flashy pyrotechnics and pulverizing techno-ish musical numbers, gleaning an emotional pulse can be challenging.
  18. Big Significant Things
    Big Significant Things is a cute idea in search of substance.
  19. I Touched All Your Stuff
    The filmmakers pop their story’s bubble in a confusing finish, but it all ends up feeling like a mystery novel that simply never revealed the key clues.
  20. Partisan
    The screenwriters, Ariel Kleiman (who is also the director) and Sarah Cyngler, have cut their story loose from any real significance, leaving us with Gregori, who has no discernible political views and no unifying beliefs, even delusional ones.
  21. Paulo Coelho's Best Story
    The title of this biopic, Paulo Coelho’s Best Story, is apt: His own life might well be his greatest work. A pity, then, that the film, directed by Daniel Augusto, doesn’t chronicle his evolution better, leapfrogging among decades instead.
  22. Stonewall
    The feisty, lovelorn Ray is far and away the strongest, most complex character, and Mr. Beauchamp gives him his due, even though too many of his speeches sound like a mix of biographical filler and boilerplate sloganeering.
  23. One & Two
    The film tries, unsuccessfully, to walk the same eerie, atmospheric trail as “The Village” by M. Night Shyamalan, or any number of Stephen King works.
  24. Air
    Juicy dilemmas are dangled in front of the audience, then disappointingly yanked away.
  25. The Perfect Guy
    Michael Ealy has a very ominous stare and Sanaa Lathan sells her inconsistent character pretty well, but The Perfect Guy is still just a boilerplate stalker story that proceeds more or less as you suspect it will.
  26. Hellions
    A jumbled third act and an indifferent ending ultimately make Hellions disappointing. But there’s a bit of fun to be had in its opening frights, and in trying to figure out what these costumed little monsters really want.
  27. Big Sky
    The film rests on the attractive but opaque Ms. Thorne, who is not ready for such weight. Commendably, she stretches her acting muscles, but Hazel’s internal struggle remains elusive. Viewers need more to connect with.
  28. Tango Negro: The African Roots of Tango
    Theories that are worth voicing are apparently worth repeating, and beats that sound catchy are sure to be replayed many times.
  29. Ashby
    Ashby is a movie divided against itself. It’s a comedy afraid of being too funny lest its macho sentimentality seem even more ridiculous than it is, and a drama afraid of appearing too serious lest you dismiss it as hogwash.
  30. Love the Coopers
    The film is occasionally amusing but rarely feels genuine.
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