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. On Deadly Ground
    Mr. Seagal's own film is awesomely incoherent, a mixture of poorly executed violence and Dances With Wolves-style astral musings.
  2. The Glimmer Man
    Short on suspense, routine in its action and monotonous in its performances.
  3. Cocoon: The Return
    Cocoon: The Return is so tired, in fact, that it can barely recapitulate the winning formula of the original hit.
  4. After the Wedding
    What should be a volcano of betrayal and acrimony never fully erupts; even Moore’s brief meltdown feels staged, and Isabel is so irritatingly tranquil that Williams has no room to breathe in the role.
  5. Blinded by the Light
    These songs have the power to move, inspire, make you dance. For the first time in my experience of Springsteen, they made me want to hide under my seat.
  6. Tora! Tora! Tora!
    From the moment you read the ads for Tora! Tora! Tora! ("The Most Spectacular Film Ever Made!”), you are aware that you're in the presence of a film possessed by a lack of imagination so singular that it amounts to a death wish.
  7. The Suicide Squad
    The violence is the most consistently inventive part of the whole package, though it grows tiresome in its thudding repetition. Like the story’s superficial finger-wagging at American wrongs, the brutality is both decorative and ritualistic.
  8. Them That Follow
    We learn so little about these characters or the forces that shaped them that we’re never drawn into their drearily blinkered world.
  9. Little Monsters
    The charismatic Nyong’o is easily the best part of this feeble Australian horror comedy.
  10. The Italian Job
    The film is technically sophisticated and emotionally retarded.
  11. Endless Love
    Mr. Zeffirelli and his screenwriter, Judith Rascoe, have bitten off so much more than they can chew that their film is virtually unintelligible at times. A great deal happens in the novel, much more than this two-hour movie can contain. But it tries to touch so many bases that its transitions are jolting, its scenes often undeveloped, and the motives of its characters frequently unclear.
  12. The Gospel of Eureka
    Favoring the superficial over the substantive, The Gospel of Eureka keeps skirting opportunities to excavate experience.
  13. Red Joan
    Leave it to the feted British theater director Trevor Nunn to flatten the intrigue and dampen the lust that could have made Red Joan zing.
  14. American Flyers
    Even though American Flyers is a fatal disease movie involving a couple of bike-racing brothers, it's the film - and not any character - that dies as you watch it.
  15. Dirty Mary Crazy Larry
    Dirty Mary Crazy Larry is as aimless as its dimly seen characters, who talk a lot of dreadful, cute-tough dialogue but are never recognizable except as the actors who play them. Even that factor isn't much help in enjoying the film.
  16. The Kid
    Set in the American Southwest in 1879, The Kid feels less like an actual movie than a table-napkin idea for one.
  17. The Burning
    The Burning makes a few minor departures from the usual cliches of its genre, though it carefully preserves the violence and sadism that are schlock horror's sine qua non.
  18. Ice Castles
    It's too bad that Mr. Wrye's bungling renders the story sob-proof, because injured-athlete sagas are usually so hard to resist.
  19. The Wandering Earth
    It is just as awash in murky computer imagery, stupefying exposition and manipulative sentimentality as the average Hollywood tentpole.
  20. Paternity
    With the exception of Miss D'Angelo and Lauren Hutton and Elizabeth Ashley, who make cameo appearances, almost everything in Paternity is tired and perfunctory. This is especially true of Mr. Reynolds.
    • 42 Metascore
    • 40 Critic Score
    Jake Speed
    Most of the possibilities for humor or tension, either sexual or dramatic, are badly botched by the flat performances of the other lead actors and the consistent bad timing of the director - everything misfires or misconnects, leaving too many long, dead moments that prove that even an adventure film with lots of running and shooting can be boring.
  22. Cutter's Way
    It's the sort of picture that never wants to concede what it's about. It is, however, enchanted by the sound of its own dialogue, which is vivid without being informative or even amusing on any level.
  23. Rich and Famous
    The movie can't make up its mind whether it's about a tumultuously difficult but rewarding friendship or whether it's a sendup of the contemporary literary scene. It fails as both.
  24. Modern Problems
    TWENTIETH Century-Fox knew exactly what it was doing when it decided to open Modern Problems at theaters all over New York on Christmas Day, without advance screenings for the press. It's not that Modern Problems is so bad, though it is incredibly sloppy.
  25. Space Jam: A New Legacy
    There’s a nearly astute satire of the app-driven life bubbling under the meta high jinks. And the movie throws so many gags at the screen that several jokes actually stick. But the purposeful sensory overload mostly yields head-spinning stupefaction, leaving a viewer feeling like Wile E. Coyote after hitting a mesa wall.
  26. The Parallax View
    The movie, which directed by Alan J. Pakula, never rewards the attention we give it with anything more substantial than a few minor shocks.
  27. The Art of Self-Defense
    The one halfway-interesting part of this movie is Nivola’s performance, which operates at both a deeper register of seriousness and a higher pitch of comedy than anything else.
  28. Alice
    Alice (rightfully) regards the choices of its heroine with respect and empathy. But its picture of sex work as an easy out, devoid of any real danger, feels like a simplistic fantasy.
  29. Go Back to China
    The biggest trouble here is in the writing. By the time the film gets around to showing what a character has felt, they have already told the audience twice — and most likely another character has explained as well, just in case anyone missed the memo.
  30. The Killing of a Chinese Bookie
    Watching the film is like listening to someone use a lot of impressive words, the meanings of which are just wrong enough to keep you in a state of total confusion, but occasionally right enough to hold your attention. What is he trying to say? It takes a little while to realize that maybe the speaker not only doesn't know but doesn't even care to think things out.
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