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. Up the Academy
    Up the Academy sets out to offend almost everybody, including women, blacks, homosexuals, Arabs, the military, and so on, but they've all been more efficiently offended by other, better movies.
  2. Dawn of the Dead
    I was able to sit through only the first fifteen minutes of Dawn of the Dead.
  3. The Crazies
    An inept science-fiction film from George A. Romero, the Pittsburgh man who established himself as the Grandma Moses of exurban horror films with The Night of the Living Dead.
  4. Imperfections
    Most of the movie’s pleasures come from Ms. Kull, a better actress than the one she plays, and the convolutions of the plot, which has a few good feints and dodges.
  5. Wonder Woman 1984
    Patty Jenkins is behind the camera again, but this time without the confidence. Certainly some of the problems can be pinned on the uninterestingly janky script, a mess of goofy jokes, storytelling clichés and dubious politics.
  6. The Leisure Seeker
    It’s hard to imagine other performers bringing so much to this setup. They give a true impression of two people who have spent their lives together and know how to talk each other.
  7. 9 to 5
    The three actresses make an attractive team, but neither the screenplay, by Colin Higgins and Patricia Resnick, nor the director, Mr. Higgins, uses them very effectively. It's clearly a movie that began as someone's bright idea, which then went into production before anyone had time to give it a well-defined personality.
  8. Liza, Liza, Skies Are Grey
    The question of whether the couple will consummate their relationship isn’t a sufficient source of tension.
  9. Rebel in the Rye
    While Rebel in the Rye isn’t quite as bad as its pile-of-bricks-clunky title suggests, it’s both simple- and literal-minded, less concerned with Salinger’s consciousness or sensibility than with his ostensible ontological status as a Tortured Creative Giant.
  10. Death Wish
    Death Wish is so cannily fabricated that it sometimes succeeds in arousing the most primitive kind of anger. Yet it's a despicable movie, one that raises complex questions in order to offer bigoted, frivolous, oversimplified answers.
  11. Holmes & Watson
    There is still intermittent joy to be found in their autumnal bromance.
  12. Oh Heavenly Dog
    Oh Heavenly Dog is diverting enough for its dog tricks - I like dog tricks, don't get me wrong - but it otherwise shows few signs of life, and many signs of depressing modernism.
  13. Sea of Love
    Sea of Love is a lugubrious imitation of a second-rate television movie, over-produced and over-cast. Mr. Pacino tears into a role made out of rice paper, for messy results, while Miss Barkin does her level best to seem simultaneously sexy, homicidal and innocent, which is not easy.
  14. Jaws 2
    Some of the action sequences have been well staged, but they've been dropped into the film so indiscriminately that Jaws 2 never builds to a particular climax. It simply drones on and on and on, like a television movie.
  15. Jesús
    One feels the filmmaker trying hard to work out the inner struggles of his sad but largely unsympathetic characters. But his movie is as miserable and ultimately confounding as it is earnest.
  16. Mrs. Hyde
    Whenever the movie tries to say something insightful about racial integration — or education, or any number of issues — it backs off or bogs down. It’s so tonally and ideologically unfocused that its ideas just slip away.
  17. Jungle
    Slow to get moving and dramatically slack, Jungle cares only about Yossi, whose solo suffering and speed-enhanced hallucinations dominate the narrative.
  18. The Lodgers
    Working with an uneven cast and an undercooked story, Mr. O’Malley hits the horror beats just fine (slam, creak, squeak) without putting a sinister spin on the assorted strange doings. For all the genre exertions, none of this feels the least bit spooky.
  19. I Love You, Daddy
    When I watched I Love You, Daddy a second time, the jokes no longer landed; its shocks felt uglier, cruder. But for once a filmmaker seemed to be admitting to the misogyny that we know is always there and has often been denied or simply waved off, at times in the name of art.
  20. Papillon
    Mr. Hunnam isn’t yet a movie star, and given current industry trends (big-studio cartoons, superhero flicks, etc.) might never get that chance. His talent is for quiet, unshowy moments, not leading-man grand gestures and important speeches.
  21. Tragedy Girls
    Tragedy Girls might add group texts to its instruments of death alongside marauding table saws and falling barbells, but the movie’s gender stereotypes keep it chained to the past.
  22. Never Here
    Ms. Enos is a credibly fraying voyeur, all anxious looks and nervous starts, but “Never Here” is too emotionally antiseptic to engage.
  23. Anna and the Apocalypse
    Anna and the Apocalypse is more sketch than developed movie. Directed by John McPhail from a script by McHenry and Alan McDonald, the movie is thinly plotted, its pacing slack, its staging uninspired; Anna remains merely an idea for a plucky heroine, despite Hunt’s smile and sweat.
    • 42 Metascore
    • 40 Critic Score
    Force 10 from Navarone
    The plot of Force 10 is banally improbable. Guy Hamilton's direction is sluggish and the camera work, by Chris Challis, makes the least of the picturesque locations in the mountains of Montenegro. There is, moreover, an unmistakable air of haste and cost-cutting that suggests that most of the production budget went to pay the high-priced stars.
  25. Hanover Street
    Every now and then a film comes along of such painstaking, overripe foolishness that it breaks through the garbage barrier to become one of those rare movies you rush to see for laughs. The clichés were everywhere, but always just slightly out of place and inappropriate.
  26. The Frisco Kid
    There's no shortage of talent in The Frisco Kid, but it's the wrong talent for the wrong material.
  27. So B. It
    So B. It aims for an inclusive message. But Mama’s artificiality makes it hard to buy the movie’s themes of acceptance.
  28. 3 Ninjas
    The film can't seem to make up its mind whether it wants to be a comedy, a fantasy or an adventure film. Mr. Kingsley's villain gnashes his teeth and snorts, I love being the bad guy. Those who displease him are threatened with the tearing out of a heart or liver. The character ends up being neither scary nor funny, while the boys are so busy demonstrating their superhuman skills that no personalities emerge.
  29. The Arrival
    The Arrival, like so many science-fiction films, begins as a promisingly eerie mixture of pseudo-scientific exposition and chilly paranoia. But once its plot has been bared, it turns into a muddled chase movie filled with glaring inconsistencies.
  30. AL DI QUA
    However worthy or political its intent, Al Di Qua is too overwrought to seem anything but trivializing.
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