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. Listening
    [A] strained, overheated thriller.
  2. Jack Reacher: Never Go Back
    Jack Reacher: Never Go Back is the second movie that Tom Cruise has starred in as this title character. Let’s hope it’s the last.
  3. I Saw the Light
    Part of what defeats Mr. Abraham and may help explain why Mr. Hiddleston’s performance, however appealing, never gets below the surface, is that Williams is one of those artists whose eloquence is expressed through his work.
  4. Hardcore Henry
    Its dour eccentricity gives Hardcore Henry a potency above and beyond that of standard-issue show-off action fare. That doesn’t mean it’s not still obnoxious, though.
  5. A Christmas Horror Story
    Unsparingly gory and on occasion actually shock-inducing, it can’t help falling prey to Genre Overreach syndrome, in which horror fans turned horror creators maniacally pile up their favorite terrorizing tropes, as if they’d never get the chance again.
  6. Olvidados (Forgotten)
    While it would be a tall order to fully elucidate this complicated history in two hours, Olvidados is hamstrung by Mr. Bolado’s lack of focused direction and a convoluted plot.
  7. Sleepless in New York
    There’s something woebegone about the film itself as it staggers along, ever in danger of tipping into the abyss inhabited by one of its subjects.
  8. #Horror
    The audience, given not an ounce of human warmth nor one person to care about, finally has no choice but to cheer for the anonymous cyberbully who wants them all dead.
  9. Short Skin
    The film opts for a somber if gentle tone that, given the story, is equally ill suited.
  10. A Faster Horse
    The tidbits we learn are wrapped in an unabashedly promotional tone that overestimates the global emotional attachment to this car’s muscular mythos. It’s difficult to believe that this tribute comes from the director who showed such delicacy in his appreciation of Jiro Ono’s art.
  11. Expend4bles
    This all-star mercenary squadron composed of ’80s-to-aughts brutes is the cinematic equivalent to Slash’s Snakepit, a supergroup throwback to an era when men were meatheads and we in the audience merrily cheered them on.
  12. Lost in the Sun
    The movie briefly picks up some warmth when John and Louis encounter a mother and daughter (Lynn Collins and Emma Fuhrmann) who are also in the midst of some self-discovery, but the movie seems unwilling to linger too long on it for fear of becoming rewarding.
  13. Homemakers
    The movie is thin on true narrative, preferring to study Irene without shedding quite enough light on her background or tracking her development.
  14. The World of Kanako
    Mr. Nakashima, it must be said, does have a knack for composition. But the torrential, if glossy, violence — he adores juxtaposing innocuous pop ditties with gruesome set pieces — grows tiresome.
  15. The Royal Road
    Ms. Olson’s images are often captivating, but too often undercut by the aforementioned aspiring-to-the-dialectical voice-over, which is awkwardly written, and delivered with a lack of affect that grows tedious over the course of an hour.
  16. American Hero
    American Hero starts off seeming as if it is going to be a fresh take on superheroes, but Nick Love, who wrote and directed, turns out to have nowhere to go with his intriguing premise.
  17. Funny Bunny
    Ms. Bagnall’s baffling story about a trio of oddball outsiders is stricken with a galloping case of romantic whimsy and falls short of its serio-comic aspirations.
    • 52 Metascore
    • 40 Critic Score
    Le Mans
    Dramatically, the picture is a bore. And neither the oblique approach to these time-out sequences nor a ripe score by Michel Legrand manages to juice things up.
  19. Mr. Six
    The baggy 137-minute story drowns out Mr. Feng’s assorted sharp moments with hoary family drama and clumsy plotting, and Li Yifeng is generic as Mr. Six’s son.
  20. Body
    Body eventually goes for ["Very Bad Thing"'s] brand of cheap irony in a less blackly comedic register, and unfortunately achieves it.
  21. Fifty Shades of Black
    As with other staples of the screen-parody genre, the comic bull’s-eyes arrive only intermittently.
  22. Rocky IV
    The comforting sameness of all the ''Rockys'' and the overbearing star quality of Mr. Stallone in his lovable-lug incarnation may well make Rocky IV another hit. But when it flashes back to its antecedents, particularly to the original ''Rocky'' with its bashful heroine and self-effacing star, it becomes clear how bloated and hollow the story has become.
  23. Outlaws and Angels
    The sensibility is more grindhouse gore than spaghetti western, perhaps hoping to mine the same vein as Quentin Tarantino’s “The Hateful Eight,” but lacking Mr. Tarantino’s lively dialogue and wicked sense of humor.
  24. Mojin: The Lost Legend
    What starts eerie becomes strictly cartoonish.
  25. The Genital Warriors
    The movie touches on some worthy topics — sex, age, ego, desire, reason, insanity, death — but never focuses long on any of them: Some bits are amusing, most are simply tedious.
  26. 31
    Awash in blood and revoltingly misogynistic dialogue, this latest redneck ruckus (his seventh feature) is a grindhouse slog of unrelenting bad taste.
  27. Forsaken
    A starry father-son pairing is largely squandered in Forsaken, an old-school western that is a little too old school for its own good.
  28. All Mistakes Buried
    Mr. Trammell’s drug-induced stammers and tics don’t by themselves add up to a compelling portrayal, nor is this drama of the down and out at all gripping.
  29. Mountain Men
    Catherine Lutes’s camera catches magnificent views of Revelstoke, British Columbia, that are worth watching as you wait 18 minutes for the next semi-interesting scene.
  30. Kate Plays Christine
    The film’s method of circling around its subject, then closing in at the end, feels coy and withholding, as if Mr. Greene reserved the few juiciest moments for last.
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