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. Jolt
    The plot, stretched thin even at just 90 minutes, is extremely predictable, and therefore boring, and the film doesn’t do enough with its high-concept shock-therapy conceit to feel fresh or novel.
  2. The Boys in Red Hats
    Between a bro-friendly voice-over and “TMZ Live”-style bull sessions with his producer, Schroder’s exploratory pose comes to feel exasperatingly clueless. Yet the film also assembles soothingly sharp commentators who lay bare the power and race dynamics and aggression at play in the Lincoln Memorial encounter.
  3. Triumph
    Mitte, who played the son in “Breaking Bad” and himself has cerebral palsy, sells Mike’s tenacity, but the contrivances around him let him down.
  4. Transformers: Rise of the Beasts
    The plot is a bust. Five credited screenwriters and not one compelling stake.
  5. Ride the Eagle
    "Where do these people get their money,” I wrote in my notes as Leif and his dog set out for a long drive at the film’s fade-out. Doesn’t matter. Nor do the multiple clichés. In Ride the Eagle, the laid-back vibe is all.
  6. Jane by Charlotte
    Clearly a pet project for Gainsbourg (whose own electronic pop songs feature prominently in the soundtrack, clashing against her mother’s classic tunes), the documentary is defiantly insular and lacking in context.
  7. The Beast Within
    Philippe Mora is the director, but the only name really worth noting is that of Tom Burman, who did the frequently grotesque special effects.
  8. The Colony
    Though it centers on one woman, anything we might stand to learn about her own developing values is quickly swallowed by overcomplicated narratives about secondary characters, corrupt colonizers and family secrets.
  9. The East
    The details may be novel — even eye-opening for some — but this story of white guilt and brutality feels mighty old.
  10. Clerks III
    Three words characterize the first third or so of the picture: not funny enough.
  11. Army of Thieves
    A winking attitude doesn’t make the extremely tired formula any less rote or tiresome. Despite the in-jokes and references (including nods to “Point Break” and “Heat”), the movie can’t transcend its own clichés.
  12. Deep Cover
    Deep Cover eventually degenerates into so much gratuitous violence that "kill" sounds like the most-used verb in the screenplay's last stages. The screenplay's frequent emphasis on homophobic insults is another unfortunate touch.
  13. Mona Lisa and the Blood Moon
    The movie, more often than not, has the look and feel of an edgy music video, which wouldn’t necessarily be a problem if it weren’t also oddly boring.
  14. House of Gucci
    For all that abundance, something is missing. A lot of things, really, but mostly a strong idea and a credible reason for existing.
  15. Together
    That it’s bearable at all is entirely because of the superlative acting skills of James McAvoy and Sharon Horgan as an unnamed couple forced to endure an extended London lockdown.
  16. Stanleyville
    The contest intentionally lacks meaningful rewards, an obvious metaphor for life’s arbitrary stakes. But as cinema, the lack of purpose becomes a test of patience.
  17. The Smartest Kids in the World
    The Smartest Kids in the World aspires to offer a study of teaching methods worldwide, but the documentary (on Discovery+) contains little rigor. It’s a dippy lecture in motion.
  18. Love Hard
    In presenting a female character who is attractive, but bereft of substance, the movie subverts its own premise.
  19. The Unforgivable
    The screenplay, adapted by Peter Craig, Hillary Seitz and Courtenay Miles from a British mini-series, gifts Bullock a few big screaming scenes but mostly has her slouching around silently while it dithers over whether or not to root for Ruth to rebuild her life.
  20. There's Someone Inside Your House
    In trying to have it both ways, Brice has created a messy, overstuffed parody of moral policing that squanders the promise of its cleverly executed opening.
  21. Night Teeth
    A strangely listless vampire tale that unspools with some style and precious little sense.
  22. Under Fire
    Under Fire, which was written by Ron Shelton and Clayton Frohman, from a story by Mr. Frohman, means well but it is fatally confused.
  23. A Castle for Christmas
    Likeable stars with little frisson, Elwes and Shields are also saddled with a formulaic script.
  24. Single All the Way
    The supporting cast compensates with piquancy in the side dishes, but the main course is a flavorless misfire.
  25. Mayday
    For a film about misandrist revolutionaries, Mayday lacks the courage of its convictions — it sets up boogeymen as targets only to shoot them point blank, in broad daylight.
  26. Stop and Go
    Everton and Call are charming enough, and Everton is a particularly magnetic physical performer, but their high jinks . . . are hit-and-miss. But mostly miss.
  27. Encounter
    After setting up a potentially powerful study of damage and delusion, Pearce (whose 2018 feature debut, “Beast,” signaled an unusual talent) remains torn between science fiction and psychological fact.
  28. Big George Foreman: The Miraculous Story of the Once and Future Heavyweight Champion of the World
    It’s a movie with its heart in the right place and its sense of drama nowhere in sight.
  29. South of Heaven
    The execution is at once laconic and nonsensical.
  30. Silent Night
    The characters, despite their histrionic representation of the wealthy class, are not compelling enough to carry the movie, nor are the horrors of the outside world fleshed out enough to frighten.
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