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. Miss Dalí
    Relentless, spell-it-all-out dialogue is wedded to a clunky visual approach that’s pretty much the cinema equivalent of a wikiHow entry.
    • tbd Metascore
    • 40 Critic Score
    100 Rifles
    It is a loud, churning and triumphantly empty exercise.
  3. The Good Liar
    The real good liar is whoever convinced Mirren and McKellen to class up such thin and arbitrary material.
  4. Superintelligence
    This is a movie of bits, enacted by varied comic luminaries. McCarthy’s “who me?” winsomeness, running neck and neck with her quick-witted cheekiness, is familiar. A new dynamic is added by the inspired Brian Tyree Henry.
  5. Oh, God!
    An uneasy amalgam of inconsistent attitudes, without enough humor or zaniness to divert attention from its questionable premise.
  6. Extremely Wicked, Shockingly Evil and Vile
    Working ostensibly from the viewpoint of Bundy’s longtime girlfriend, Liz Kendall (an excellent Lily Collins), [Director] Berlinger never fully commits. Instead, he appears as seduced by Bundy as virtually everyone else in the movie.
  7. This One's for the Ladies
    The movie’s determination to make stripping mundane has a way of infecting the film. Even the dancing sequences, often shot in poor lighting as if on a smartphone camera, look perfunctory.
  8. Aniara
    Kagerman and Lilja thoughtfully constructed their film, yet they leave nothing for the mind to do besides consume unrelenting tragedy.
  9. Angel Has Fallen
    "The Fugitive,” to which “Angel” owes perhaps even its rooftop finale, is a template against which this movie inevitably falls short.
  10. Ghoulies
    This one is a cut-rate Gremlins, about some small, nasty creatures brought forth by a young man dabbling in the occult.
  11. An Acceptable Loss
    For a political thriller to come up with a scheme that feels genuinely rousing, An Acceptable Loss would need the two qualities it most severely lacks: style and substance.
  12. Men in Black: International
    F. Gary Gray can be a fine action director and sometimes better than fine, but the scenes that should pop and pow — given the squealing tires, bared knuckles and laser beams — consistently fall flat.
  13. Paradise Alley
    A phony, attitudinizing, self-indulgent mess, a multimillion-dollar B (for boring) picture with the ear of a cauliflower, the heart of a hustler and the soul of a used-car salesman.
  14. Under the Eiffel Tower
    The film is yet another ode to the restorative magic of wine country sunshine, which apparently also has the power to expose the story’s egregious midlife-crisis clichés.
  15. Ashes in the Snow
    There are a few powerful images.
  16. Lifeforce
    Lifeforce shows off Mr. Hooper's way with a whirling mass of protoplasm, just as Poltergeist did. But its style is shrill and fragmented enough to turn Lifeforce into hysterical vampire porn.
  17. Heartlock
    Some scenes in this film, directed by Jon Kauffman, put across the perversity of prison social ecosystems. But the picture’s gender and race dynamics, not to mention its forced star-crossed lovers theme, are sufficiently commonplace to register as hackneyed.
  18. No Holds Barred
    More than Sylvester Stallone or Arnold Schwarzenegger, Mr. Hogan behaves like a self-invented comic-book character sprung to life. No Holds Barred is as cartoonish as its star.
  19. Krush Groove
    Unfortunately, the skimpy screenplay by Ralph Farquhar insists upon entangling the performers in the most conventional subplots imaginable. Talent contests, feeble attempts at romance and the travails of a struggling young record company are all enlisted, however briefly, in the effort to drum up backstage activities for the players, who are best watched in performance anyhow. Rap music is infinitely more original than these creaky devices, and it deserves something better.
  20. Porky's Revenge
    Porky's Revenge proceeds with the kind of comic pacing that has the audience laughing way ahead of each joke. Some of it is funny, but it's also entirely predictable.
  21. Turk 182
    A movie with a sloppily sentimental heart that's as big as the city in which its story takes place.
  22. Bobby Deerfield
    Big, expensive, ultimately ridiculous movie that appears to have been constructed to be a Love Story on wheels.
  23. The Devil All the Time
    Every faded dress looks attentively fitted, each ramshackle house artfully weathered. If the performances are considerably less persuasive it’s partly because Campos shows no interest in the inner lives of his characters. And while Pattinson’s and Keough’s roles are risible, the actors at least show signs of (comic) life.
  24. Nightbreed
    Surrounded by Mr. Barker's visual clutter and lack of narrative energy, Mr. Cronenberg's presence only highlights the difference between a gruesome but first-rate psychological horror story like Dead Ringers and a mediocrity like Nightbreed.
  25. IO
    The dynamic between Sam and Micah shifts the film into romantic melodrama, as lifeless and as chaste as the windswept apocalypse that surrounds them.
  26. The Man Who Killed Hitler and Then The Bigfoot
    There is something admirably perverse about a movie that treats the killings of Hitler and Bigfoot as secondary to a character study of a crusty old man and his regrets, but that doesn’t make the film less dull or deflating to watch.
  27. The Loveless
    The Loveless, a pathetic homage to the 1950's, has been made by two writer-directors, Kathryn Bigelow and Monty Montgomery, who share an unmistakable longing for that era. But their nostalgia expresses itself no more interestingly than through a lot of silly, lifeless posturing, plus the use of colors like chartreuse.
  28. Berlin, I Love You
    Most of this movie, which is almost entirely in English, is taken up with tone-deaf humanist tales.
  29. The Unicorn
    Robert Schwartzman’s direction is blah, his story labored and the supporting characters one-note.
  30. The Tomorrow Man
    The Tomorrow Man is a cloying, at times disturbing tale of two dotty seniors whose eccentricities unexpectedly mesh.
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