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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    • 50 Metascore
    • 40 Critic Score
    Roustabout
    Unfortunately, the very thinnest of stories has been extracted from the colorful world of the carnival. The picture simply ambles around in a circle, getting nowhere.
  2. Charly
    I'm told by someone whose opinion I respect that the novel was very moving and very sad. The movie is not. It's science-fiction without gadgets, a horror film without thrills.
  3. Fisherman's Friends
    Between predictable, commonplace plot turns and characterizations of music business types that are even more obnoxious than the norm, the movie’s straining for effect is less than ingratiating.
  4. Sweet Charity
    Sweet Charity, the film adaptation of the Broadway musical, has been so enlarged and so inflated that it has become another maximal movie: a long, noisy and, finally, dim imitation of its source material.
  5. Instant Dreams
    Baptist’s approach, treating his subjects like characters in a drama, is ultimately frustrating.
  6. Doctor Dolittle
    Richard Fleischer's direction, is slow and without surprise. Indeed, toward the end it is perfunctory. Things happen mechanically. The actors appear self-conscious and the fantasy is dull.
  7. Clementine
    Although the camera’s attention to faces and gazes, coupled with an eerie soundtrack, conjures a vague mood of suspense and seduction, the plot fizzles out quickly without any real provocations.
  8. Georgetown
    The cast can only do so much with thin material, and Waltz, duping and swindling grandly, isn’t equipped to make the long con interesting.
  9. The Convent
    Hyett proves more successful with atmosphere than plot.
  10. Papi Chulo
    Papi Chulo tries to subvert the conceit that casts brown people as uncomplicated support systems for conflicted white people, but lacks the vision to transform these familiar stereotypes.
  11. Always Be My Maybe
    Always Be My Maybe feels a lot like a movie propped up by a stunt, a high-gloss romantic comedy so mired in triteness and unconvincing emotions that its main recommendation is the appealing diversity of its cast.
  12. Clara
    While the movie’s morose mysticism is tolerable enough, once “Clara” starts arguing for following feelings instead of data, it puts on its own tinfoil hat.
  13. In the Aisles
    Imagine a Kaurismaki with less humor and a slower pace, and you’ll have a sense of how singular yet insubstantial In the Aisles ultimately appears.
  14. Sibyl
    Whether psychological drama or sexual farce — and, really, there’s no way to tell — Sibyl is a soapy mess.
  15. The Climb
    Rather than ascending to new heights of bromance, The Climb coasts down into the barren flatlands of masculine self-pity.
  16. Perfect
    The upshot is an oppressive, inscrutable puzzle that made me more curious about the inside of Alcazar’s head than that of his tortured subject — the kind of movie that, in some circles, might inspire fetishistic rewatching. Just don’t forget to fire up the bong.
  17. Harakiri
    You may not get much satisfaction from the tortured human drama in this film, but you should get an eyeful graphic exercise.
  18. What Ever Happened to Baby Jane?
    The feeble attempts that Mr. Aldrich has made to suggest the irony of two once idolized and wealthy females living in such depravity and the pathos of their deep-seated envy having brought them to this, wash out very quickly under the flood of sheer grotesquerie. There is nothing particularly moving or significant about these two.
  19. My Spy
    It has too much violence and language for family viewing, but doesn’t commit enough to the danger of spy thrillers to stir the Bond and Bourne lovers among us. In the end, it doesn’t know which mission it chooses to accept.
  20. DC League of Super-Pets
    This brand of arch, inside-baseball riffing is a scourge on modern family films, present in almost every animated movie with an all-star cast. But it’s especially grating delivered by Johnson and Hart, who, despite the vocal talent they have shown in the past, give two of the least inspired voice performances in recent memory.
    • 46 Metascore
    • 40 Critic Score
    Foxy Brown
    Miss Grier is obviously durable but, unfortunately, is fast becoming a bore despite all the sex, brawls and gore in Foxy Brown.
  22. The Bad Seed
    Mervyn LeRoy, who produced and directed, has lost a great deal of the bite of the play. He has done it in a style of presentation that is ostentatious and often insincere.
  23. Back to the Fatherland
    The survivors offer several potent recollections. Yet most other scenes linger and provide few insights.
  24. Carmen Jones
    There is nothing wrong with the music—except that it does not fit the people or the words. But that did not seem to make much difference to Mr. Hammerstein or Mr. Preminger. They were carried away by their precocity. The present consequence is a crazy mixed-up film.
    • 74 Metascore
    • 40 Critic Score
    Gun Crazy
    Pretty cheap stuff.
  26. Big Wednesday
    The movie often seems even more uneventful than material like this need make it, and Mr. Milius's attention to his actors focuses more closely on their pectorals than on their performances.
  27. Corvette Summer
    The central portion of Corvette Summmer, set in Las Vegas with an Alice in Wonderland air, has a visual zaniness that meshes effectively with the script. But for the most part, the movie takes a slender, boyish conceit — of the sort that is suddenly so popular among Hollywood's current batch of boy wonders — and invests it with silliness rather than whimsy.
  28. The Champ
    The most offputting thing about such canny, tear-stained movies as The Champ is not their naïveté but their unholy sophistication. These movies don't mean to deal with the world as it really is, but as it should be, a place where there's no pile-up of emotional garbage too big that it can't be washed clean by a good cry.
  29. Demon Seed
    Gadget-happy American moviemaking at its most ponderously silly.
    • 56 Metascore
    • 40 Critic Score
    Rollerball
    It's not funny at all and, not being funny, it becomes, instead, frivolous.
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