The New York Times' Scores

Select another publication »
For 20,311 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: 9,399 out of 20311
  2. Mixed: 8,446 out of 20311
  3. Negative: 2,466 out of 20311
20311 movie reviews
view
per page
  1. The Anthrax Attacks
    Many documentaries have dealt with real-life ambiguity by making it part of their structure and argument. This one treats it as an afterthought.
  2. Cat People
    The Cat People is a labored and obvious attempt to induce shock. And Miss Simone's cuddly little tabby would barely frighten a mouse under a chair.
  3. The Curse of Bridge Hollow
    Wadlow, a good horror director, seems hamstrung by the family-friendly context and struggles to develop tension in the absence of a plausible threat of violence.
    • 64 Metascore
    • 40 Critic Score
    Christmas in Connecticut
    Peter Godfrey, the director, has a good deal to learn about the art of telling a boudoir joke in the parlor and getting away with it.
  5. Marlowe
    The cast is large and the costume and set designers have been kept busy with period details, but “Marlowe” neither dutifully copies nor cleverly updates detective-movie tropes. The dialogue is spiced with profanities and anachronisms, and the plot moves ponderously through a thicket of complications.
  6. God Forbid: The Sex Scandal That Brought Down a Dynasty
    While Falwell Jr. may indeed be a charlatan, ridiculing his sexual predilections seems like a pretty dubious way to prove it.
  7. The Other Tom
    The film, directed by Laura Santullo and Rodrigo Plá, ultimately falls flat, with unconvincing dialogue and a strained delivery by the actors.
  8. The Same Storm
    It’s a well-intentioned gesture of solidarity that tries so desperately to be relatable, it feels alienating.
    • 47 Metascore
    • 40 Critic Score
    The Mephisto Waltz
    This shrill, heavy-handed exercise only makes us appreciate "Rosemary's Baby" all over again.
  10. A Man Called Otto
    A Man Called Otto is not only more bloated than the Swedish film, it’s more outré, in a way that’s hard to pin down.
  11. The Barefoot Contessa
    The story that's told against this background is a curiously empty tabloid tale, and the title performer, Ava Gardner, fails to give it plausibility or appeal.
  12. Memories of My Father
    Perhaps Colombian audiences don’t need the history lesson, but skimping on the context in this case also makes the film’s mawkish impulses more glaring and grating, especially as Trueba shifts his observant domestic drama into something of a political rallying cry — a tepid one, at that.
  13. In Her Hands
    The film is so enamored with Ghafari’s status as an exceptional symbol — a powerful woman in a man’s world — that her actual work as a politician gets short shrift.
  14. Paradise City
    The movie’s generic quality is spruced up by eccentric plots points (go-go dancers who also serve as undercover eco-activists, a nice Andy Sidaris-like touch) and kooky dialogue.
  15. The Almond and the Seahorse
    Only when Sarah and Toni meet for the first time, an hour in, does the film allow a genuine conversation — and, gratefully, a moment of recognition.
  16. Framing Agnes
    The documentary reminds its audience that it’s impossible to truly know people based on their responses to medical interviews. But this approach unfortunately prevents the film from achieving either catharsis or understanding.
  17. Wide Awake
    Wide Awake imagines it's a seriocomic "coming of age" film radiating waves of healing sweetness and light. But beneath its suffocating, smug sentimentality, you have to look hard to uncover a single moment of truth and genuine feeling.
    • tbd Metascore
    • 40 Critic Score
    The Night Digger
    It begs for empathy for its tortured principals, but despite the clearly dedicated contributions of Patricia Neal, Roald Dahl, her scenarist-husband; Pamela Brown and a young newcomer, Nicholas Clay, the strain on credibility is a good deal more notable than the impact on the emotions.
  19. 36 Hours
    What is annoying about this picture is that the set-up for pulling off the plot is just too slick and artificial, too patly and elaborately contrived.
  20. What Remains
    Even as a Lifetime-esque soap, What Remains sputters, lacking any of the sensational twists to allow itself to sink into enjoyable pulp. The film ultimately hopes to position itself above such a story, aiming instead for a meditation on faith and forgiveness, but its writing and direction lacks the emotional substance to produce anything legitimately affecting.
  21. Consecration
    The plot, as a result, can’t quite find its momentum; it doesn’t help that most of the film’s scares fall flat on a visual and technical level.
  22. Baby Ruby
    As moody and messy as its eponym, Baby Ruby aspires to demonstrate how postpartum psychosis can feel like a horror movie. It just fails to make the condition feel like a particularly convincing or cohesive horror movie.
  23. Luther: The Fallen Sun
    Lacking dialogue to deepen the characters or reinforce their motivations, Luther: The Fallen Sun whooshes past in a rush of serial-killer clichés: an underground lair, a torture room, a masked maniac
  24. Haunted Honeymoon
    Humor and horror make an uneasy combination.
  25. The Mission
    One hopes that such access would yield new insights into the church. But as the events unspool, the film struggles to crystallize more than a handful of compelling points.
  26. The Boogeyman
    The Boogeyman, extrapolated from a minor 1970s short story by Stephen King, might conceivably make sense to viewers with no access to proper lighting or functioning windows. For the rest of us, though, this near-indecipherable movie — as murky in plot and payoff as in setting — demands such a total suspension of rationality that its few scary moments struggle to land.
  27. The Amazing Maurice
    What should be a cute story about a mischievous orange tabby cat instead becomes an ironic, even vaguely smug movie in the vein of something like “Deadpool.”
  28. Paint
    Written and directed by Brit McAdams, Paint is a comedically inert parody of male privilege that’s all sight gags and very little substance.
  29. At Midnight
    Barbaro and Boneta’s charm offensive never amounts to much, though. The eagerness this film has to please could never match how pleased Feingold clearly is to be making a movie like it.
  30. Devil's Peak
    The movie doesn’t have enough of a narrative engine to compensate for its lack of world building.
Page:

Top Trailers

See all »
See all trailers »