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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    • 39 Metascore
    • 40 Critic Score
    Woman of Straw
    Despite the fancy trappings laid on by the respected old producer-director team of Michael Relph and Basil Dearden, this handsomely colored exercise is the kind of pseudo-Victorian nonsense that Alfred Hitchcock long ago laid to rest.
  2. Earwig and the Witch
    For one, it’s the abundance of red herrings in this fleeting 82-minute feature; connections and relationships are implied (and a plot point about a witchy rock band flies by) but end up leading to dead ends, making the journey feel incomplete. But the most regrettable part is the animation.
  3. DragonHeart
    Dragonheart joins Mission: Impossible in wasting the talents of charismatic European actors, and in cobbling together exciting-looking ads that are much better than the finished film.
  4. Shawn Mendes: In Wonder
    “In Wonder” wants so much to be a humanizing portrait, but it doesn’t go deep enough to crack Mendes’s polished love-crooner veneer, nor does it say anything new about fame that hasn’t been said in other pop-star docs of recent years.
  5. Malcolm & Marie
    A stylized stab at pandemic filmmaking, Malcolm & Marie, is at once mildly admirable and deeply unlikable. Beneath the film’s Old-Hollywood gleam and self-conscious sniping, serious questions are raised, only to lie fallow.
  6. Godmothered
    Is the film trapped in Disney orthodoxy? If the shoe fits.
  7. Wrong Is Right
    Mr. Brooks has a couple of major defects to be successful in this kind of project. He is a man with no great feeling for comedy of any sort, and his reactions to the lunacies of contemporary life are trivial.
  8. Medicine Man
    Medicine Man transports a lot of Hollywood-style hot air to the remote jungle outpost where Dr. Campbell has accidentally stumbled upon a cancer-reversing formula.
  9. Team Marco
    Marco’s sourness curdles the confection and his undercooked complaints clack against the movie’s warm tone, sending its simple pleasures into a scatter.
    • tbd Metascore
    • 40 Critic Score
    A New World
    Feeble in concept and conventionally (if smoothly) executed.
  11. The Mauritanian
    Trapped for the most part in featureless rooms, a stellar cast — including Jodie Foster, Benedict Cumberbatch and Shailene Woodley — deliver dull speeches and sift through redacted documents, brows furrowed and lips compressed.
  12. Tove
    The soft-focus cinematography is beautiful but drippy, and this general tendency toward mushy melodramatics presents an unflattering contrast to the sharp-lined vivacity that Jansson brought to the page.
    • 56 Metascore
    • 40 Critic Score
    The Legend of Hell House
    If John Hough, the director, and his small, willing cast maintain mild tension during their harried visit to this haunted "hell house," the few chills they provide are of little help.
  14. Miss Firecracker
    A superficial and sporadically witty piece aimed at such easy targets as family squabbles, small-town folk and beauty contests. The film is not actively awful; just dull and banal. [28 Apr 1989, p.C12]
    • The New York Times
  15. Super Mario Bros.
    This bizarre, special effects-filled movie doesn't have the jaunty hop-and-zap spirit of the Nintendo video game from which it takes -- ahem -- its inspiration. What it has instead are a weird, jokey science-fiction story, "Batman"-caliber violence and enough computer-generated dinosaurs to get the jump on "Jurassic Park."
  16. A Glitch in the Matrix
    “A Glitch” wades only shin-deep into the complex logic that’s attached to this speculation.
  17. The Marksman
    Predictable to a fault, the movie coasts pleasurably on Neeson’s seasoned, sad-sweet charisma — an asset that’s been tragically imprisoned in mopey-loner roles and generic action thrillers.
  18. Dogfight
    The film wants to be honest (and in its cruelties, it is), but the operative sensibility is that of a sitcom world. The characters aren't necessarily idealized, but they are flat and uninteresting. The material is lugubrious. The only seemingly spontaneous moment comes at the very end, which is too late.
  19. Hunted
    Adding a fairy-tale cast to a generic horror setup is of no benefit to Hunted, Vincent Paronnaud’s unpleasant merger of slasher movie and survival thriller.
  20. Dr. Bird's Advice for Sad Poets
    The movie gets so drunk on its stylistic affectations (and unfunny attempts at cerebral comedy) that by the time it sobers up to take James’s mental health seriously, it’s too little, too late. And also too bad, as it’s only in the last quarter that the viewer gets to appreciate the range of the movie’s appealing lead players.
  21. Airborne
    Slackly directed and thinly written, "Airborne," which opened yesterday, exists mainly for its scenes of the big race, in which two teams rocket down a series of winding hills, jumping over cars, scooting under trucks and bouncing down stairs. The camera work in this extended sequence has a nice gliding energy, but the participants are so thickly encased in helmets, goggles and padding that it is impossible to see how the two sides are doing as they elbow each other around the course's hairpin turns.
  22. Switch
    Nothing in Switch is that plausible or compelling. Any movie that depends on the presence of either the Devil or God is asking for trouble, and Switch has them both.
  23. Bad Tales
    The story is both overwrought and underdeveloped, with potentially important plot details insufficiently explained or left out altogether.
  24. Simple Passion
    While keeping a stalwart female perspective, Simple Passion follows an arc so standard it could be called banal.
  25. True Colors
    As directed by Mr. Ross, True Colors is dreary, humorless, heavy-handed and self-important.
  26. Crimes of the Heart
    As adapted by Miss Henley and directed by Bruce Beresford, this Crimes of the Heart has been turned into a majestic, totally humorless star turn for three individually splendid, collectively lost actresses -Diane Keaton (Lenny), Jessica Lange (Meg) and Sissy Spacek (Babe).
  27. Home Alone 2: Lost in New York
    A film bursting with enthusiasm for a fresh, appealing fantasy has been replaced by one most eager to maintain the status quo.
  28. Francesco
    Judged strictly as a movie, Francesco comes across as shapeless and secondhand — a missed opportunity to present a closer look at the daily work of being pope and perhaps to demystify elements of the papacy.
  29. Moxie
    Unfocused and too often unbelievable, Amy Poehler’s Moxie feels like a battle between two competing visions: go-girl crowd-pleaser and serious high-school harassment drama. Neither wins.
  30. Yes Day
    Though Yes Day does not lack for energy, the jokes are too broad and the mishaps too safe for the movie to emerge as an honest or imaginative journey through family conflict and compromise.
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