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. The Bay of Silence
    There is less to The Bay of Silence than meets the eye.
  2. The Promise
    The members of the cast are undercut by both material and direction.
  3. Imitation of Life
    This modernized remake of Miss Hurst's frankly lachrymose tale is much the same as its soggy predecessor. It is the most shameless tear-jerker in a couple of years.
  4. The Raven
    If The Raven is the best that Universal can do with one of the greatest horror story writers of all time, then it had better toss away the other two books in its library and stick to the pulpies for plot material.
  5. The Outside Story
    The film, which was written and directed by Casimir Nozkowski, sets an easy pace to match Charles’s mild ennui. The only problem is that the movie doesn’t supplement its lack of stakes with style or substance.
    • 54 Metascore
    • 40 Critic Score
    The House of the Seven Gables
    Dreary and slightly stale fare.
  7. Lady on a Train
    It's an empty and careless little fable, intended to be a mystery farce, about the wholly incredible mix-up of a debutante in a murder plot.
  8. Measure for Measure
    Glancing social commentary — like the difficulties of cultural assimilation and the invisible wounds of war — is welcome, but the script (by Ireland and Damian Hill, who died in 2018) is too cluttered for it to resonate and too mired in a muddle of sin and redemption.
  9. Hubie Halloween
    Occasionally, the nostalgic back-patting makes way for a few good jokes.
  10. I'm Your Woman
    The movie’s vagueness wants to appear purposeful, reflecting Jean’s disorientation, but it’s mostly confounding. Brosnahan, when she’s not playing panicked, largely enacts Jean as an irritated cipher.
  11. Marry Me
    Marry Me is a sad tale that’s too busy leaping from plot point to plot point for Lopez to express anything close to real. It tells a lot and shows nothing.
  12. A Chef's Voyage
    Mostly the movie is a drizzle of platitudes.
  13. Nocturne
    Contrivances are par for the course in this genre, but Nocturne lacks the stylistic flair to make them fun.
  14. The Prom
    The story unwinds with histrionics and homilies, jazz hands and twinkle toes, overly busy camerawork and hookless lung bursters.
  15. Deep Water
    Like Vic’s snails, who must be starved before they can be consumed, Deep Water feels like a movie that’s had everything of interest well and truly sucked out.
  16. The Incredible Shrinking Man
    Unless a viewer is addicted to freakish ironies, the unlikely spectacle of Mr. Williams losing an inch of height each week, while his wife, Randy Stuart, looks on helplessly, will become tiresome before Universal has emptied its lab of science-fiction clichés.
  17. The Devil Has a Name
    Clearly well-intentioned, The Devil Has a Name means to deliver an inspirational lesson about the depravity of big industry and the power of the little guy. But it’s mostly a muddle.
  18. The Craft: Legacy
    Zoe Lister-Jones’s The Craft: Legacy, produced by Blumhouse (“Get Out”), is a disappointing distillation of the original that’s mostly devoid of personality.
  19. The Keeper
    It’s contrary to the movie’s spirit to judge Bert, but the evasive treatment of his wartime experiences plays like a dodge: His past exists as a kind of amorphous trauma, reduced to shorthand in shamelessly placed flashbacks.
  20. Honest Thief
    It’s an inoffensive movie, full of such familiar tropes, it hardly matters if you can keep your eyes open to the end.
  21. The 355
    The filmmaking deserves credit for refusing to leer as the ladies convincingly kick and punch — all focus is on the stunts, not on sex appeal. Yet there’s a sense that “The 355” felt forced to pick between being sincere or being fun. It chose solemnity. As a result, it’s flat-footed even when the setups yearn to be playful.
  22. Husbands
    Like Faces, which was rambling and funny and accurate, and which I admired, the new film demonstrates a concern for panicky, inarticulate squares that is so unpatronizing that it comes close to being reverential in a solemnly religious sense. Husbands, however, also puts one's tolerance of simulated cinéma vérité to the test. It is almost unbearably long.
  23. Fatman
    Waffling between anger and pathos, dry humor and dead-eyed violence, Fatman feels tonally befuddled.
  24. Rogue City
    Violent, law-defying cops would be a tough sell at any time, but “Rogue City” is oblivious to the changed context surrounding their stories. They don’t hold much romantic allure nowadays.
  25. Wild Mountain Thyme
    It is also a romantic comedy/drama whose tone ping-pongs from grave to lyrical to absurdist willy-nilly, and hits all those registers at fortissimo volume.
  26. The Man with the Golden Arm
    It is a pretty plain and unimaginative looksee at a lower-depths character with a perilous weakness for narcotics that he miraculously overcomes in the end.
  27. High Society
    As flimsy as a gossip-columnist's word, especially when it is documenting the weird behavior of the socially elite. And with pretty and lady-like Grace Kelly flouncing lightly through its tomboyish Hepburn role, it misses the snap and the crackle that its un-musical predecessor had.
  28. Spell
    Laden with references to race, class and the legacy of slavery, Spell, directed by Mark Tonderai from a script by Kurt Wimmer (a pen on the “Point Break” and “Total Recall” remakes), is stronger on maintaining suspense and a macabre atmosphere than it is at following through on its ideas, which give it a thin veneer of topicality.
  29. Vanguard
    Tong is not a stickler for verisimilitude. Hence, this movie’s ridiculous computer generated lions; hence also, its solid-gold sports cars.
  30. The Russia House
    As directed by Fred Schepisi and written by Tom Stoppard, The Russia House is confused and dim, far less complex, and even far less fun, than almost any le Carre work yet brought to the screen, excluding The Little Drummer Girl.
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