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. Luz
    Despite the strange, echoing beauty of its images ... "Luz" is, as a whole, visually numbing and mentally taxing.
  2. The Way We Were
    By, some peculiar alchemy, The Way We Were turns into the kind of compromised claptrap that Hubbell is supposed to be making within the film and that we're meant to think is a sellout. It is.
  3. Loverboy
    Lover Boy should have had the courage to admit it is hopelessly tacky.
  4. Last Christmas
    Feig is an adroit director of comedy and he gives Last Christmas some fizz now and again. But he’s stymied by the romance and the gimmick, and the pairing of Clarke and Golding proves an impossible hurdle, making even the seemingly simplest moments — an intimate walk, a heartfelt talk — feel badly labored.
  5. Doctor Strange in the Multiverse of Madness
    There isn’t much of a love story here. There isn’t much of anything, even as there’s too much of everything.
  6. The Painted Bird
    While Kosinski’s prose renders the grotesque vivid by understatement, this adaptation often seems to have little purpose beyond literal-minded visualization.
  7. Boi
    The tantalizing clues, occasional laughs and lapses in reality are not enough to hold this film together.
  8. Angel of Mine
    Rapace’s jangly, one-note performance is rendered bearable by Yvonne Strahovski’s warmly natural turn as Lola’s increasingly furious mother.
  9. The Devils
    It's a see-through movie composed of a lot of clanking, silly, melodramatic effects that, like rib-tickling, exhaust you without providing particular pleasure, to say nothing of enlightenment.
  10. Someone to Watch Over Me
    Howard Franklin's screenplay plays less like a feature film than like the pilot for a failed television series about New York policemen.
  11. Cannery Row
    The only people who emerge from this precious nonsense smelling good are Richard MacDonald, the English production designer, and Sven Nykvist, the Swedish cameraman.
  12. A Million Little Pieces
    Another ruin-and-rehab tale, one that initially tantalizes then flatly disappoints.
  13. Falling Inn Love
    The movie becomes a cavalcade of tired gags — less com than rom.
  14. To All the Boys: P.S. I Still Love You
    To the director Michael Fimognari’s credit, "P.S. I Still Love You” doesn’t condescend to Lara Jean’s dilemma even as her choices deserve popcorn pelted at the screen. Yet, he’s content with a product that seems beamed in from a staticky old channel.
  15. Ne Zha
    A computer-animated feature of bright hues, hectic action and only occasional charm.
  16. Barefoot in the Park
    Gene Saks, directing his first movie, has paced it so unevenly and allowed such glaring mismatches of scenic backgrounds and even of gag sequences that it looks as though his costly picture was made by people who didn't know their way around.
  17. Nightmares
    Nothing spoils a horror story faster than a stupid victim. And Nightmares, an anthology of four supposedly scary episodes, has plenty of those.
  18. Surviving the Game
    This film is quite literally lost in the wilderness, with an intermittent, picturesque prettiness that doesn't suit the action at all. More damagingly, Mr. Dickerson does nothing to keep his cast from chewing up the mountain scenery. [16 Apr 1994, p.11]
    • The New York Times
  19. The Great Alaskan Race
    In addition to his acting duties, Presley also wrote and directed the film. But while he provides beard and brawn as the heroic musher, he struggles with the technical challenges of editing and staging the run.
  20. Playing with Fire
    It’s an unchallenging movie, but as far as unchallenging kids movies go, the actors ensure this one doesn’t fall into soullessness.
  21. The Last Thing He Wanted
    The big problem with the movie isn’t the muddle, but the strain.
  22. Tall Girl
    A big problem is that the students are all affluent and status-obsessed, but the film has no temperament for self-examination: Instead of a John Hughes-style satire of class and social divides — not that acute here, to begin with — we get an uncritical depiction of homogeneous entitlement.
  23. Waiting for the Barbarians
    Guerra aestheticizes everything to an extreme.
    • 34 Metascore
    • 40 Critic Score
    American Son
    At some point you’re tempted to stop following the narrative and start keeping score between husband and wife. It’s a good debate. It just isn’t much of a movie.
    • 62 Metascore
    • 40 Critic Score
    The Molly Maguires
    Realism without much reality, enormous care for the wrong details, historical accuracy and spineless dramaturgy, The Molly Maguires vacillates among intentions and settles finally for ponderous spectacle and easy irony.
  26. The Banana Splits Movie
    More of a raspberry than a reboot, The Banana Splits Movie, available to buy (and later to rent) on multiple digital platforms, is far less crazy than it wants to be and far more soporific than a synopsis would suggest.
  27. Don't Look Now
    A fragile soap bubble of a horror film. It has a shiny surface that reflects all sorts of colors and moods, but after watching it for a while, you realize you're looking not into it, but through it and out the other side. The bubble doesn't burst, it slowly collapses, and you may feel, as I did, that you've been had.Not only do you probably have better things to do, but so, I'm sure, do most of the people connected with the film.
  28. Promise at Dawn
    The movie looks and sounds great, but greatness and depth elude it.
  29. Suddenly, Last Summer
    Joseph L. Mankiewicz' direction is strained and sluggish, as is, indeed, the whole conceit of the drama. It should have been left to the off-Broadway stage.
  30. Proxima
    Torn between the maternal and the cosmic, the tactile and the unearthly, Proxima feels as unsettled as its heroine.
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