The New York Times' Scores

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For 20,312 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: 9,400 out of 20312
  2. Mixed: 8,446 out of 20312
  3. Negative: 2,466 out of 20312
20312 movie reviews
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  1. I Am Not Alone
    The talking heads, who discuss events in the past tense, sap the protest material’s momentum, and a score by Serj Tankian (who appears as a commentator) is unnecessarily manipulative.
  2. Irreconcilable Differences
    Mr. Shyer has no idea how to frame this material, let alone make it funny. Most of Irreconcilable Differences is terribly flat; the camerawork is dim and unflattering, the sets are bare even when they're supposed to look lived in and some of the dialogue is simply beyond the actors.
  3. Kill It and Leave This Town
    The grim film feels excavated from the subconscious: The coarse illustration style, with its frazzled, stray lines, emphasizes the bleakness of the images.
  4. The Men's Club
    Now and then, there is some horseplay involving the whole group or an angry exchange between a couple of them, but mostly we're watching a set of shticks, some amusing, some not. It's like being at an Actor's Studio showcase.
  5. The Quarry
    The film plays as if it’s been smothered under a pile of rocks.
  6. Extremities
    THE smashing, crashing, thrashing battle between Farrah Fawcett and James Russo that takes up about half of Extremities leaves the contestants in a state of exhaustion -and the movie along with them.
  7. Band of the Hand
    The rest is mainly whack, splat and kaboom, with fast cuts to a rock beat. Miami vise.
  8. The Surrogate
    The Surrogate feels like the vexed progeny of an elevator pitch and an ethics advice column.
  9. The Trip to Greece
    The “Trip” movies have always been self-aware about their own weightlessness, wringing laughs by needling the men and their vanity. That’s as smart as it is convenient; this time, though, it also feels like a cop-out.
  10. We're No Angels
    The movie proceeds at the pace of a child reluctant to go to bed. It dawdles over irrelevant details and grows sleepier and sleepier until it seems to be snoozing, though still standing up.
  11. The Big Town
    This huge cliche of a movie isn't even a distant relation of films like The Color of Money, which can actually make you root for hustlers. The Big Town only proves we've gone back to the 1950's one time too many.
  12. Sgt. Pepper's Lonely Hearts Club Band
    The movie may have been conceived in a spirit of merriment, but watching it feels like playing shuffleboard at the absolute insistence of a bossy shipboard social director. When whimsy gets to be this overbearing, it simply isn't whimsy any more.
  13. North Shore
    The surfing footage is fairly routine until the film's climax, a contest featuring some spectacular shots of surfers seen beneath the overhang of breaking waves. Otherwise, the surfing, writing, direction and performances are of a caliber to interest only undiscriminating adolescents.
  14. Airport '77
    Airport '77 looks less like the work of a director and writers than like a corporate decision.
  15. Obsession
    Whatever shred of credibility the movie retains is dispersed by the final, dead serious directorial hocus‐pocus.
  16. Power
    Ideas and issues in this film are as scarce as hen's teeth. In their place are little signposts that tell us what we are supposed to believe without thinking...Power is a well-meaning, witless, insufferably smug movie that -if it does anything at all, and I'm not sure it does - anesthetizes legitimate outrage at some of the things going on in our society.
  17. The Marvels
    It’s frustrating what weak tea this movie is because the director, Nia DaCosta (“Little Woods,” “Candyman”), has talent, the cast is appealing, and there’s a lightly gonzo scene that shows you what the other 100 minutes could have been. It’s almost as if the suits at Marvel Studios know it doesn’t matter if their movies are any good.
  18. Best of the Best
    Under Bob Radler's direction, the sequences involving tae-kwan-do, a lethal ballet-styled hybrid of kick boxing, judo and karate, carry very little visceral charge until the last 15 minutes, after which the movie expires in a saccharine slush of blood, sweat and tears.
  19. Salvador
    The main characters tend to be either grotesques or stereotypes, who keep getting into incoherent arguments, composed largely of variations on America's favorite epithet...For a movie with pretensions to laying out political realities, the colorful Salvador is black and white.
  20. The Town That Dreaded Sundown
    A couple of professional actors, Ben Johnson and Andrew Prine, head the cast, but the film looks nonprofessional in every other respect.
  21. Intrigo: Dear Agnes
    The film traces the falling out that led to the women’s current iciness. Their own connections, revealed bit by bit, make their plan even more ludicrous.
  22. Dogs in Space
    The background is energetic; too bad the foreground is just as chaotic...Mr. Lowenstein - whose work includes many rock videos and ''Strikebound,'' a film about Australian miners - prefers sensory overload to coherence.
  23. The Concorde... Airport '79
    Aeronautically and otherwise, it's a bumpy trip.
  24. Double Impact
    As it turns out, two Jean-Claude Van Dammes are pretty much the same as one. Fans who like their action unadulterated by story, character or acting know where to find it.
  25. The Wrong Missy
    Though the gags are retrograde groaners, Lapkus embarrasses herself with confidence. Her full-throttle verve transcends the script like a water skier leaping over a Great White.
  26. Have a Good Trip: Adventures in Psychedelics
    With no real thesis or through-line, the movie winds up being little more than a series of revue-style blackout sketches, lengthy digressions and dead ends.
  27. Castle in the Ground
    We’ve seen it before: Faces, substances and locations may change, but the self-destructive behavior and dreary vibe are pretty much constants.
  28. The Man from Toronto
    In The Man From Toronto, directed by Patrick Hughes, the vague sense of location is typical of a broader lack of effort. Although Hart, as the broadly comic version of the classic Hitchcockian Wrong Man, has a certain goofball charm, his frantic coward routine gets old quickly, with no appreciable change as the action-flick danger continues to escalate.
  29. Tesnota (Closeness)
    This movie, which Balagov, a Nalchik native, states in an onscreen text is based on a true story, has a whole lot of “slow” and one very nasty burn.
  30. 7500
    One thing Vollrath does well is create a credibly claustrophobia-inducing atmosphere. Then again, when you restrict your camera to the inside of a cockpit, you’d have to be pretty incompetent not to.
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