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. Every Which Way But Loose
    The slackest and most harebrained of Mr. Eastwood's recent movies. It is overlong and virtually uneventful, even though there are half a dozen cute characters and woolly subplots competing for the viewer's attentions.
  2. Dog Days
    On the whole, this picture, which could just as well be titled “Dog, Actually,” is sweeter-than-average treacle.
  3. Kodachrome
    If this earnest and forgettable road movie represents a meaningful tribute to taking pictures, we ought to go back to cave drawing.
  4. The Hit
    The Hit' is a disappointing English underworld movie directed by Stephen Frears. Less a film noir than a film gris, partly because almost all of it takes place in sun- drenched Spain and because the characters talk too much. These guys don't have to use guns. All they have to do is open their mouths and bore each other to death.
  5. The Cleanse
    The Cleanse” embarks on an allegorical journey with only the vaguest notion of a destination. As a result, the movie feels frustratingly repetitive — a single joke repeated ad nauseam.
  6. The Grudge
    The remake remains cursed by a fatally hokey concept.
  7. Little Pink House
    Palely photographed and anchored by a quiet, rather weary performance from Ms. Keener, Little Pink House is a peculiarly enervated affair. The structure is choppy, and there are odd moments of tonal dissonance.
  8. Social Animals
    The lack of chemistry between the two leads is less damaging than Ms. Bennett’s inability to commit to a tone.
  9. The Brady Bunch Movie
    The movie manages to be painless and pointless in equal measure.
  10. Rambo: First Blood Part II
    To anyone who doesn't share the camera's adoration, this sort of behavior becomes so comic that Rambo turns into something of a camp classic.
  11. See How They Fall
    The script, which he wrote with Alain Le Henry, is as confusing and tiresome as the direction. What is meant to be a touching, comic relationship between Marx and Johnny is simply flat.
  12. Penguins
    [A] beautiful but frustratingly shallow Disneynature documentary.
  13. Hover
    Hover is reasonably resourceful for its first hour, during which it appears to have turned budget restrictions into an asset, keeping the focus on ideas instead of effects. The last act, though, is a total whiff — too rushed, too riddled with plot holes and too incongruously hopeful to take seriously.
  14. Here and Now
    It all adds up to a film aiming to be a moving character study (and an ostensible homage to Agnés Varda’s “Cléo From 5 to 7,” a far more vivid exploration of existentialism), but instead feels adrift.
  15. Zoe
    In Zoe, the characters, all in their 30s at least (except for the robots, I know, but bear with me), still believe that 100-percent glitch-free everlasting love is a reasonable life goal. It’s this component, even more than the poorly realized sci-fi trappings, that finally make the movie a little insufferable.
  16. The Kissing Booth
    As cinema either theatrical or televisual is concerned, The Kissing Booth is negligible. It is fascinating, though, as a study in the semiotics of the high school movie, especially in the ways it’s been recodified since “young adult” became a real genre.
  17. The Cable Guy
    A grim, sour Jim Carrey comedy that erases the boundary between anarchic humor and sociopathic malice.
  18. The Sound of Music
    Miss Andrews, with her air of radiant vigor, her appearance of plain-Jane wholesomeness and her ability to make her dialogue as vivid and appealing as she makes her songs, brings a nice sort of Mary Poppins logic and authority to this role, which is always in peril of collapsing under its weight of romantic nonsense and sentiment.
  19. The Deep
    The story, as well as Peter Yates's direction of it, is juvenile without being in any attractive way innarcent, but the underwater sequences are nice enough, alternately beautiful and chilling. The shore‐based melodrama is as badly staged as any I've seen since Don Schain's “The Abductors” (1972), which is to remember incompetence of stunning degree.
    • 46 Metascore
    • 40 Critic Score
    Zardoz
    More confusing than exciting even with a frenetic, shoot‐em‐up climax.
  21. I Had Nowhere to Go
    What it conveys is not so much Mr. Mekas’s experience as Mr. Gordon’s will, and his cheap sadistic hostility to the audience. It makes this film a vexed experience.
    • 71 Metascore
    • 40 Critic Score
    Johnny Got His Gun
    Insistent virtue, without ideas, becomes demagoguery.
  23. Sauvage / Wild
    It’s tough to build a character study around an unconvincing character.
  24. The Getaway
    The action and the violence of The Getaway are supported by no particular themes whatsoever. The movie just unravels.
  25. Let the Corpses Tan
    A formalist experiment that soon devolves into a mannerist indulgence.
  26. The Doctor from India
    To seek proof is distinctly human, and, in this case, a dose of skepticism is surely healthy.
  27. The Aftermath
    An old-fashioned wartime romance whose plot highlights are recognizable from outer space, this gleaming dollop of prestige comfort food is neither logically coherent nor emotionally satisfying.
  28. Phenomena
    The gore starts spattering in earnest too late to save Creepers, a dim-witted horror movie.
  29. Convoy
    The movie is a big, costly, phony exercise in myth‐making, machismo, romance-of-the-open-road nonsense and incredible self‐indulgence.
  30. Hot to Trot
    While the movie makes a winning case for the passion of its subjects, it bears hints of smoothed-over complexities.
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