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. Guillermo Del Toro’s Pinocchio
    It’s evident that the filmmakers wanted to create a different, tougher and putatively more serious Pinocchio than the Disney version that has been lodged in the popular imagination for decades. But the movie’s decontextualized and disturbingly ill-considered use of Fascism is reductive and finally grotesque.
  2. Dual
    There is something insincere in this movie’s manner, an aloofness that masquerades as satire but repels inquiry or emotion. “Dual” takes a worthy idea and throws a smoke bomb in its middle, leaving the audience to squint through the haze.
  3. Alice
    Ver Linden wants us to view Alice as an empowered freedom fighter. Instead she lands as a caricature of one, as the film never really metabolizes or unpacks its conceit: the bonkers time-traveling predicament of its protagonist.
  4. Brainwashed: Sex-Camera-Power
    Limited to a mere pointing out of which kinds of images are empowering to women and which aren’t, the documentary ultimately does a disservice to the art form, feminist or otherwise.
  5. Windfall
    Windfall is dramatically flat and logically wanting.
  6. Dark Glasses
    The best moments of the film involve Diana’s unsentimental alliance with Chin, the orphan who offers her more protection than she’s able to afford him. Their quirkily endearing relationship allows the horror legend to dabble in a genre that’s wholly new to him: the odd couple comedy.
  7. Fistful of Vengeance
    Without tactical, philosophical or emotional grounding, the battle scenes don’t land with any cinematic force.
  8. Nightride
    The one-take gimmick — much easier to achieve now thanks to digital cameras —has become common enough that it barely qualifies as novel.
  9. The Bubble
    Elements that have the potential to become running gags . . . either languish or are dropped, as if Apatow simply cut together what he felt were inspired improvisations without regard for flow (or the uncharacteristically cheap-looking visuals).
    • 73 Metascore
    • 40 Critic Score
    The Bitter Tears of Petra von Kant
    Clearly, the director was awash in his fantasies about lesbianism.
  11. I Love My Dad
    Since the audience is in on the scheme from the start, what we get is excruciating, uncut. But not too excruciating, because Franklin is such a drab cipher it’s hard to work up much empathy for him.
  12. Bodies Bodies Bodies
    It’s not that “Bodies Bodies Bodies” is bad. It’s visually appealing and nicely acted. But this film is not special, and like its shallow characters, it is persistently unaware of its own inanity.
  13. The Unbreakable Boy
    Mainly the story, set in Oklahoma, dispenses its lessons in gratitude, self-forgiveness and sobriety with straightforward sincerity. Sometimes that works, and sometimes it lands with a thud.
  14. Ticket to Paradise
    Roberts and Clooney wear their stature like sweatpants, rousing themselves to do little more than spit insults like competitive siblings. They’re selling their own comfortable rapport, not their characters’ romantic tension.
  15. The Sea Beast
    This script’s greatest sin is its steadfast predictability.
    • 42 Metascore
    • 40 Critic Score
    Children of the Damned
    A dull, pretentious successor to that marvelous little chiller of several seasons ago, "Village of the Damned." What a comedown.
  17. Return to Space
    Glowing with grandiose pronouncements and uplifting sentiment, Return to Space, a draggy documentary about America’s first manned spaceflight since 2011, could be easily repurposed as promotional material for Elon Musk’s SpaceX.
  18. White Hot: The Rise & Fall of Abercrombie & Fitch
    While the movie provides encouraging evidence of how much societal sensibilities have changed, it is fundamentally dressing up well-worn material.
  19. Senior Year
    The film’s early snark turns as cloying and insincere as the cultural doublespeak that it parodies. By the final act, its dialogue is so burdened by inspirational maxims about personal authenticity that it feels as though the script has been hijacked by yearbook quotes.
  20. Trapped in Paradise
    Since Trapped in Paradise assembles three actors as amusing as Nicolas Cage, Dana Carvey and Jon Lovitz, it's a minor holiday miracle that this homey comedy barely elicits even a chuckle.
  21. Choose or Die
    If any creativity went into Choose or Die, a by-turns creepy and hacky feature debut from Toby Meakins, it appears to have been directed solely toward nastiness.
  22. Amos & Andrew
    Mr. Frye's initial conceits are good ones, but the film's humor somehow gets sopped up by the spongy writing and direction. The characters are fuzzily realized. The dialogue is lame and the continuity so shaky that one entire subplot sinks in confusion.
  23. Sweet Bird of Youth
    Sweet Bird of Youth, for all its graphics and the vigorous performance of its top roles, has the taint of an engineered soap opera, wherein the soap is simply made of lye, that's all.
  24. The Mystery of Marilyn Monroe: The Unheard Tapes
    Mostly the film presents a banal rehash of established facts and well-circulated rumors about Monroe’s life.
  25. Drifting Home
    Though Drifting Home delivers a great visual concept . . . it doesn’t deliver on the action. The pacing lags and the beats are predictable; the film’s go-to antic is having children repeatedly topple overboard.
  26. Firebird
    Each line and image feels predetermined, as if Rebane and his characters had already decided this love story was a losing battle. There is loss, but little sense of risk.
  27. Interceptor
    The fun is not always contagious, even for someone like me who grew up reading Tom Clancy’s wonky Cold War fantasias.
  28. Persuasion
    The story’s heroine, its dialogue and even its themes of regret and loneliness seem to be swallowed up by the need to maintain an appearance of contemporary cheek.
  29. The Big Sleep
    The Big Sleep is one of those pictures in which so many cryptic things occur amid so much involved and devious plotting that the mind becomes utterly confused. And, to make it more aggravating, the brilliant detective in the case is continuously making shrewd deductions which he stubbornly keeps to himself.
  30. Mr. Malcolm's List
    A tepid Regency-era romance.
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