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. Cross of Iron
    Cross of Iron is Mr. Peckinpah's least interesting, least personal film in years, a hysterically elaborate, made-in-Yugoslavia war spectacle, the work of international financiers and a multinational cast, most of whom are supposed to be Germans although they sound like delegates to an international PEN convention.
  2. Justin Bieber: Our World
    Alternating like clockwork between live numbers and soft insight dulls the film’s rhythm, diminishing the excitement it’s going for as it counts down the days to showtime.
  3. American Underdog
    Warner’s story is inspirational but intricate, and this wan film struggles to balance simple storytelling with the complexities of the sport.
  4. Falling for Figaro
    [A] thoroughly generic and often monotonous romance.
  5. Operation Fortune: Ruse de Guerre
    The silly premise is one that a better Ritchie film could, with some charm, style and wit, have turned into a workable romp. But everything here is stuck on autopilot.
  6. Dear Mother
    Adapted by Lafitte from a 2013 play by Sébastien Thiery, Dear Mother is the kind of screwball comedy whose absurd premise and speedy pacing very nearly allow you to overlook the fact that it’s not exceedingly bright or witty.
  7. The Haunting of Julia
    Based on a novel by Peter Straub, The Haunting of Julia manages to draw on every horror movie cliche imaginable and still make very little sense.
    • 40 Metascore
    • 40 Critic Score
    Scream Blacula Scream
    Despite all its blood-letting, Scream Blacula Scream fails for lack of incident, weakness of invention, insufficient story.
  9. My Hero Academia: World Heroes' Mission
    “World Heroes’ Mission” has little to offer veteran fans of the series or new viewers, who won’t find any of what makes the series great in what’s essentially a filler arc.
  10. Candyman: Farewell to the Flesh
    Fortunately, Candyman isn't powerful enough to do much harm. The credits are more intriguing than the film.
  11. Only the Animals
    The multiple viewpoints are just a clever, self-satisfied device to deliver stale goods and familiar ugliness with a soupçon of glib class politics.
  12. Cicada
    Ben and Sam’s blossoming romance does a lot of telling and little showing. While there’s the occasional amusingly idiosyncratic section of dialogue that sounds like a series of stagily poetic non-sequiturs, much of the couple’s bonding feels straightforward and unremarkable.
  13. Love and a .45
    In any case, Love and a .45 is too mean-spirited to be funny, and it winds up nastily derivative rather than clever.
  14. National Champions
    The movie dilutes its impact with lackluster direction of samey scenes — people in hotel rooms speechifying — and a distracting nighttime soap subplot.
  15. Street Fighter
    As Mr. Van Damme fumbles through his part, you are likely to find yourself staring at the big lump on the right side of his forehead and wondering how it got there.
  16. Juice WRLD: Into the Abyss
    “Into the Abyss,” which mixes material from Juice WRLD’s tour stops with interviews and hangout and recording vignettes, isn’t particularly focused.
  17. Where the Boys Are
    Inspired by the novel of Glendon Swarthout, which one reviewer described as "a highly carbonated elixir of sex, sun-shine and beer," it has been patterned into a movie by the glib script writer, George Wells, so that it looks and sounds like a chummy dramatization of the Kinsey reports.
  18. Munich: The Edge of War
    A plodding bureaucratic procedural that features many, many characters strategizing in various spaces with furrowed brows and clenched jaws, mostly in relentless medium close-up.
  19. Belly
    Belly is a film that begs for a pat on the head for its virtue while catering to cinematic tastes more interested in crotch shots, topless dancers, wall-sized television screens, ganja galore and, wherever possible, crime without punishment, all to the accompaniment of a high-octane soundtrack.
  20. The Lady of Heaven
    The film runs through plot points in appropriately spectacular, if mechanical, fashion. A shoddy script and an overwhelming reliance on clichés, however, make this would-be blockbuster feel incredibly cheap.
  21. Blue Beetle
    This unremarkable story, along with cheap-looking visual effects and Soto’s colorless direction, is a prime example of somnambulist filmmaking that lulls the audience into a mindless stupor. At least the Reyes family is a force to be reckoned with; their chaotic ensemble scenes are the most delightful, and truly unexpected, of the movie.
  22. Bigbug
    Despite some snappy ideas (an aggressive advertising drone pushing products as answers to the family’s every problem), Bigbug is overdressed, overlong and diminishingly amusing
  23. See for Me
    This uninvolving thriller is as lacking in tension as credibility.
  24. Donkeyhead
    Despite her minor rebellions, Mona remains a frustratingly opaque character; a stereotypically troubled woman whose eventual awakening merits a shrug at most.
  25. Lucy and Desi
    Here is a documentary that invites us to delight in the unexpected pairing of a famed funny lady and a hunky musician — but without analysis or nuance. Better to flip on a few “I Love Lucy” reruns instead.
  26. Why Is We Americans?
    It’s a story that spans past and present, arts and politics, and kin and country — and the movie, with its haphazard editing, struggles to contain it all.
  27. Brazen
    Brazen occasionally scratches the same itch as does a cop procedural, or a Lifetime drama so formulaic you foresee every beat.
  28. Against the Ice
    It’s perfectly formulaic.
  29. Texas Chainsaw Massacre
    In David Blue Garcia’s Texas Chainsaw Massacre the blade is more active than ever. But while Leatherface, the homicidal head case who fashions masks from the skin of his victims, might be busier, his ability to scare has waned considerably.
  30. The Tiger Rising
    The metaphors are so obvious that the film becomes trapped in its own cage of archetypes and clichés, and unlike the tiger, there is no champion to open the gates to a more original cinematic world.
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