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. 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.
  2. Shook
    Shook is done in by its final reveal, which manages to be simultaneously improbable and conventional. For engagement, we’ll have to look somewhere else.
  3. Aspen Extreme
    Patrick Hasburgh, who makes his feature-film debut as the writer and director of Aspen Extreme, is a ski enthusiast and former instructor who still knows more about skiing than about movies. Even though it runs close to two hours, "Aspen Extreme" remains sort of stretched out and dramatically undeveloped.
  4. Little Big Women
    A gentle panning camera and a bland score milk every scene for emotion, and at more than two hours, the women’s journeys drag. By the time it is over, Little Big Women has lost any sense of restorative power — all that registers is tedium.
  5. Little Nikita
    Richard Benjamin's strategy in directing Little Nikita seems to have been to paper over the holes in the plot with routine moves from spy shows past, in hopes of making the improbable passable.
  6. Boiling Point
    Boiling Point is a barely tepid police story co-starring Wesley Snipes and Dennis Hopper, cast respectively as a hard-boiled detective and a wily con man. Since the material (written and directed by James B. Harris, from a novel by Gerald Petievich) offers not one shred of surprise, it's understandable that neither actor seems to believe anything he has to say.
  7. Dennis the Menace
    Mason Gamble, the 7-year-old who plays the title role, won't be any competition for Macaulay Culkin of "Home Alone." He's a handsome boy, but he displays none of the spontaneity that initially made Mr. Culkin so refreshing. He seems to follow direction well, if in a somewhat robotic way.
  8. Henry & June
    The characters' sexual abandon is so complete that it robs the story of any shape.
  9. Ladybugs
    Even when the material is feeble, as it is here, Mr. Dangerfield can sometimes be funny, a gravelly-voiced comic confusion of emotional insecurities laced with aggressive tendencies.
  10. Kinjite: Forbidden Subjects
    The screenplay, by Harold Nebenzal, leaves one end of this story conspicuously untied, but it does its best to titillate the audience with a mixture of teen-age porn and trademark Bronson spitefulness.
  11. Into the Darkness
    While the plot is absorbing, the movie continually has characters voice their motivations, leaving little to subtext.
    • 51 Metascore
    • 40 Critic Score
    We're No Angels
    Generally a slow, talky affair of elephantine roguishness and a few genuine chuckles.
  13. Every Breath You Take
    With only a few fleeting moments of nail-biting thrills, Every Breath You Take remains mostly tepid and frustrating.
  14. Tokyo Decadence
    Tokyo Decadence is much better at evoking a creepy urban sophistication than at revealing character or telling a story.
  15. Long Live Rock: Celebrate the Chaos
    Long Live Rock feels, at best, like a passionate but elementary essay. More often than not, it feels like a table of contents. The hot-topic buttons are touched upon, but McHugh doesn’t forge far enough into the mosh pit.
  16. He's All That
    Hot people pretending to be homely is par for the course in makeover movies; the real thrill lies in watching opposites attract. But the catfights, confessions, and dance-offs in He’s All That lack the sting of real romantic conflict, and there’s nary a spark between Rae and Buchanan.
  17. Dutch
    Dutch is never more than glancingly comic, and rarely even that.
  18. Amundsen: The Greatest Expedition
    Woefully short on excitement and long on — well, just long — “Amundsen,” away from the blizzards and chattering teeth, is a pompous parade of stiff collars and stuffy rooms.
  19. Dad
    Instead of moving the audience, Mr. Goldberg achieves the kind of effect that Jack Benny got when he played his violin. The flesh crawls.
  20. We Broke Up
    The overwhelming impression is that of shrillness. It’s a tone that might be familiar to those who have experienced a broken heart, but this shallow exercise offers meager opportunity for discomfort to transform into either entertainment or contemplation.
  21. Lily Topples the World
    No arguments, frustrations or consequential disappointments mar the film’s unvaryingly upbeat tone. This leaves us with a movie that feels more like a marketing tool for her self-designed brand of dominoes than a nuanced portrait of an unusual talent.
  22. Stowaway
    For all the empathy it expects of its viewers — every character cries onscreen at least once — the film is troublingly removed from human reality.
  23. Senior Moment
    This is the kind of movie that is usually defended with one word: “harmless.”
  24. Resident Evil: Welcome to Raccoon City
    The only surprise is that Roberts shuns cheap jump scare surprises in favor of well-crafted suspense scenes that play out like a game of three card monte. There’s delight in cinematographer Maxime Alexandre and editor Dev Singh’s slow-building visual gags.
  25. Things Heard & Seen
    Rather than interweaving domestic drama, supernatural mumbo-jumbo and campus naughtiness, Pulcini and Berman lurch from one scene to the next, squandering scares and undermining the momentum of the story.
  26. Spirit Untamed
    With its saucer-eyed, bobblehead-like characters, it’s a version barely distinguishable from the majority of animated children’s movies these days — more like Spirit domesticated.
    • 48 Metascore
    • 40 Critic Score
    The Skin Game
    Mr. Galsworthy's narrative is bound to enlist one's attention, but Mr. Hitchcock, who is responsible for the adaptation as well as the direction, cannot be said to have accomplished either task in a fashion the subject deserves, for in undergoing the studio operation the original work has been sapped of its persuasive drama.
  28. The Old Man and the Sea
    Whatever allegorical intimations there may be in it are not conveyed to any sensible degree in a voice narration that breaks in occasionally or in the mumblings of the old man.
  29. When Hitler Stole Pink Rabbit
    The film strains to inject even a modicum of drama.
  30. The Protégé
    Kudos to Q, though, for a performance anchored in classy disdain for the baloney around her.
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