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. Southern Comfort
    Though the film was photographed on what appear to have been extremely difficult locations in Louisiana and Texas, it never once convinces you that it's anything but pretentious moviemaking.
    • 61 Metascore
    • 40 Critic Score
    The Longest Yard
    Though The Yard is a terrible picture, I'll admit to having unwillingly enjoyed some of the football practice and parts of the final game —even though it's much too long.
  3. No Retreat, No Surrender
    The karate blows sound good but never seem to make contact. But then nothing else makes contact either. The advice from this corner: Retreat.
  4. The Oath
    It was said by many after the 2016 election that the Trump administration would yield great satirical art. This is not an example of that.
  5. A Paris Education
    Mr. Civeyrac leads Étienne into anxious imitations of the past, and the possibility of making art fueled by the present never materializes.
  6. The Front Runner
    Reitman uses Altmanesque sound design and serpentine camera movements to convey the chaos and kineticism of a process in constant, frantic motion. But after a while, once we’ve met the principal players, the speechmaking starts and a potential comedy of political manners turns into a pious, tendentious morality play.
  7. Galveston
    With shadowy imagery that pushes the boundaries of visibility and a mumbly lead performance from Ben Foster that strains the limits of intelligibility, Galveston goes past film noir and lands at film murk.
  8. Strangers on a Train
    Mr. Hitchcock again is tossing a crazy murder story in the air and trying to con us into thinking that it will stand up without support.
  9. Cats
    Generally, Hooper pulls away from loony-tunes excess, tries for sexy rather than freaky, and plucks at heartstrings, a reflex that pulls the story into mawkishness, particularly when he cuts to Victoria.
  10. Cold Pursuit
    I can’t deny that the glum, resentful, not-giving-a-damn masculine vibe of Cold Pursuit has its appeal, as does Moland’s blunt knack for efficient screen violence.
  11. Midway
    It is rousing and respectful in its best moments and faintly ridiculous in others.
  12. The Kentuckian
    Some outdoor scenes in excellent color and the expanse of CinemaScope give a bit of magnificence to a picture that lacks it in every other way.
  13. Saboteur
    To put it mildly, Mr. Hitchcock and his writers have really let themselves go. Melodramatic action is their forte, but they scoff at speed limits this trip.
  14. Amityville 3-D
    The third in a 3-D series, as in Jaws 3-D or now Amityville 3-D, simply isn't a good idea. Once the first two films in a series have exhausted most opportunities for action, the third is liable to average half a dozen exposition scenes for every eventful episode. And 3-D exposition is the stuff of which headaches are made.
  15. Bride of Chucky
    The novelty of a bloody horror film built around a malevolent doll carrying the soul of a serial killer has worn thin.
  16. Caniba
    The filmmakers, who made “Leviathan,” the striking 2012 immersion into commercial fishing, seem to be arguing that Sagawa needs to be understood beyond moralistic preconceptions. Caniba did not make the case for me. I consider Sagawa repellent, and the movie an exercise in intellectualized scab-picking.
  17. Critters
    It's commercially calculated to have something for everyone - suspense, humor, even a bounty hunter from the krites' planet who poses as a rock star. Unfortunately, the film doesn't have the humor or the budget to match any of these goals.
  18. Critters 2
    Critters 2 piles up every stock movie idea you can remember about small-town heroism, macho sheriffs and alien invaders. But whenever it shows a glimmer of wit about those cliches, it leaps back to its safe, dull, derivative style.
  19. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    Like other big-studio exercises in pseudo-subversion (very much including “Deadpool”), Birds of Prey is happy to play at provocation with swear words and violence while carefully declining to provoke anything like a thought.
  20. The Texas Chainsaw Massacre 2
    No matter how adeptly Chainsaw 2 was put together, it would remain just another exploitation flick for fans who get a tingle from watching blades slash into flesh and innards peep out.
    • 50 Metascore
    • 40 Critic Score
    The Son of Kong
    The film does offer some witty opening scenes depicting Carl Denham hounded by creditors following Kong's Gotham rampage. But the remainder of the film is sometimes laughably bad, and much of the dialogue is dated in a way that is not charming at all. [20 Sept 1987, p.36]
    • The New York Times
  22. King Kong Lives
    King Kong Lives, which was directed by John Guillerman, has a dull cast and a plot that's even duller, but the ape himself is in good form.
  23. Hellbound: Hellraiser II
    Though the script for Hellbound is related to the Barker story, the film drops its plot whenever a fake-looking monster walks on the screen. Ogling strange creatures is the film's true reason for being.
  24. Rambo: Last Blood
    While the killings (replete with beheadings, dismemberments and more) are zestfully depicted — the director Adrian Grunberg has a way with pace and bloody impact to be sure — the picture overall is rote, mechanical.
  25. Aladdin
    The movie itself, while not entirely terrible — a lot of craft has been purchased, and even a little art — is pointless in a particularly aggressive way.
  26. Song of the South
    Apparently the Disney wonder-workers are just a lot of conventional hacks when it comes to telling a story with actors instead of cartoons.
  27. Marfa Girl 2
    Clark likes to linger on close-ups of intertwined naked bodies, and he seems to admire these characters’ freedom. But ultimately, it all feels whisper thin: The film, already quite short, doesn’t offer enough about any of these people for us to care genuinely about what happens to them.
  28. Lady and the Tramp
    Not the best he has done in this line. It is a coyly romantic story, done with animals. The sentimentality is mighty, and the use of the CinemaScope size does not make for any less awareness of the thickness of the goo.
  29. The Last American Virgin
    The best things about the movie are probably its amusingly modish outfits and hairdos, which demand that the audience keep its eyes open, and the music, which doesn't.
  30. What She Said: The Art of Pauline Kael
    A numbing torrent of largely unidentified film clips and poorly labeled commentary, Rob Garver’s overstuffed tribute to the life and work of America’s best-known — and most written about — film critic is at times barely coherent.
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