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. Flatliners
    Mr. Schumacher’s movie is more a failed tone poem than a horror picture, and to its credit, this new version, with a trickier script by Ben Ripley and hyper-competent direction from the Swedish filmmaker Niels Arden Oplev improves on it — by making it behave like a horror movie every now and then.
  2. Lazy Eye
    Written and directed by Tim Kirkman (“Dear Jesse,” “Loggerheads”), Lazy Eye has realistic dialogue and believable performances by its stars. But unless you consider subjects like saltwater swimming pools and the movie “Harold and Maude” fascinating topics, “Lazy Eye” has little to say.
  3. Tank 432
    This British thriller is a high-concept tease that slogs its way through a morass of barely differentiated characters and visuals before reaching an unsatisfying conclusion.
  4. Before I Fall
    Before I Fall is tactful rather than maudlin, tasteful rather than lurid, soothing rather than creepy. None of that is good news.
  5. The Last Word
    Ms. MacLaine, 82, holds the screen effortlessly. Too bad she has to share it.
  6. On the Map
    The movie makes no attempt to engage any current situation, basking instead in a one-dimensional nostalgia.
  7. Goodnight Brooklyn - The Story of Death by Audio
    The movie is not boring as such, but because it is a chronicle told almost entirely by the people behind the space (Mr. Conboy being one of them), it is relentlessly personal — there’s no genuine cultural critique.
  8. The Wasted Times
    The Wasted Times plays like a movie carved out of a much larger mini-series, whose segments are then shown out of order.
  9. Alone in Berlin
    Adapted from Hans Fallada’s 1947 novel (and based on a true story), Alone in Berlin is dour and flavorless.
  10. Arsenal
    Despite solid acting (including John Cusack as a plainclothes detective), Arsenal is hobbled mainly by its director’s histrionic tendencies.
  11. The Party
    The Party is a brittle, unfunny attempt at comedy that features some very fine actors and a lot of empty chatter.
  12. Unforgettable
    Here, both the director (Denise Di Novi) and the writer (Christina Hodson) are women, yet that doesn’t translate into a reimagining of the tired formula.
  13. American Fable
    It’s a nice opening for a movie that spirals into nonsense.
  14. Diary of a Wimpy Kid: The Long Haul
    Unfortunately, the fresh blood has been saddled with a tired story, the family road trip that goes outlandishly awry, and the result is another forgettable film.
  15. The Commuter
    It’s not even very good as a genre exercise, and can’t always keep track of which genre muscles it wants to flex. For a while it’s a locked-room mystery. Then it’s a runaway-train thriller.
  16. Hotel Transylvania 3: Summer Vacation
    The scenes of Dracula befuddled by a mobile phone were familiar; those in which the vampire’s garlic “intolerance” preludes a flatulence joke predictable. Returning a third time as director, Genndy Tartakovsky lends his usual graphic savvy, providing a not-quite-saving grace.
  17. Churchill
    The movie’s ambition is the good news. The bad news is that it is a hash, choosing to jumble the historical record and frame a Churchill bout with depression against the D-Day invasion of France by Allied forces.
  18. Sing 2
    The sequel is all glitz and no heart.
  19. Sex Doll
    The movie doesn’t credit any source material, but it plays like a poorly dramatized magazine exposé.
  20. Don't Hang Up
    The writer, Joe Johnson, and directors, Damien Macé and Alexis Wajsbrot, have a few surprises, but not enough to make this anything other than a formulaic story of teenagers behaving badly and getting what’s coming to them.
  21. Wonder Wheel
    Wonder Wheel, Woody Allen’s latest movie, is one of his more unfortunate contributions to cinema.
  22. Rocky
    The problem, I think, comes back to Mr. Stallone. Throughout the movie we are asked to believe that his Rocky is compassionate, interesting, even heroic, though the character we see is simply an unconvincing actor imitating a lug.
  23. Suburbicon
    Mr. Clooney gets some things right in Suburbicon, including visually and with his two appealing child actors, who together give the movie a heartbeat.... But he skimps on the adult characters’ inner lives, and, once the narrative weight shifts to the Lodges, he never finds the tone that balances the movie’s sincerity with its nihilism.
  24. Tom of Finland
    While Mr. Laaksonen devoted his life (1920-91) to challenging conventions, the film is committed to honoring them.
  25. Airheads
    The idea has anarchic possibilities, but the film itself is awfully tame.
  26. Bulletproof
    Bulletproof, directed by Ernest Dickerson from a screenplay by Joe Gayton and Lewis Colick, is really a screwball love story disguised as a macho action film.
  27. The New Mutants
    The New Mutants spent three years on ice before being allowed to escape into the slowest summer season in a century. That’s fitting for a film that’s all buildup and no bang.
  28. The House of Tomorrow
    Working from Peter Bognanni’s 2010 novel, the writer and director, Peter Livolsi, has created a painfully quirky tale that’s so contrived you can almost hear the gears of the plot grinding.
  29. Camera Obscura
    Fortunately, Camera Obscura has decent actors to flesh out its dubious premise.... But their diligent efforts cannot raise the whole enterprise above a mere exercise.
  30. Good Time
    Sometimes it flaunts its clichés...and other times it cloaks them in rough visual textures and jumpy, bumpy camera movements, so that a rickety genre thrill ride feels like something daring and new. It isn’t. It’s stale, empty and cold.
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