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. Devil's Peak
    The movie doesn’t have enough of a narrative engine to compensate for its lack of world building.
  2. A Radiant Girl
    At points, the contrast between Irene’s joy and the encroaching horrors is jarring and eerie, but A Radiant Girl seldom hits these notes — the rest is deflating and awkward.
  3. The Magician's Elephant
    In jazzing up the tale for the screen, Rogers sands down the somberness — Baltese is all fuzzy blues and pinks, with nary a trace of postwar grit — while turning up the silliness for gimmicky thrills.
  4. My Happy Ending
    The labored screen adaptation shows regrettably few signs of personal fire, and many signs of a work that has been sapped of the intimacy of live theater.
  5. Manodrome
    Crude and sensationalizing, Manodrome is like an amalgam of all the headlines you’ve read about the kinds of men who succumb to warped ideologies.
  6. Sisu
    For all its gung-ho violence, the film never feels fraught or nasty enough: It never risks true offense or tastelessness, never takes a gamble on anything that could be interpreted the wrong way or that might sidestep expectations. Somehow it makes killing Nazis feel pretty tame.
  7. Minnie and Moskowitz
    Mr. Cassavetes's use of exaggerated slapstick gestures to underscore the loneliness and fears of his characters is more interesting in theory than funny or moving in actual fact.
  8. About My Father
    Alas, in less than an hour and a half of running time (the director Laura Terruso does orchestrate the proceedings with a palpable sense of dispatch), the movie demonstrates how quickly “amiable and inconsequential” can shift to “hackneyed and labored.”
    • 59 Metascore
    • 40 Critic Score
    Carmen
    They make for a film with elements of dance on camera, musical, of-the-moment melodrama and visual poetry — but without a thorough commitment to any one of those and few, if any, moments of coalescence.
  10. Heart of Stone
    And yet, even if the computer shenanigans look goofy, they’re more interesting than the movie’s run-of-the-mill spy thrills.
  11. Ballerina
    Directed, with workmanlike efficiency, by Len Wiseman, “Ballerina” is at once insultingly facile and infuriatingly obtuse, its unmodulated tumult leaving little room for nuance or personality.
  12. I Walk Alone
    It's a mighty low class of people that you will meet in the Paramount's I Walk Alone—and a mighty low grade of melodrama, if you want the honest truth—in spite of a very swanky setting and an air of great elegance.
  13. Haunted Mansion
    [Simien] keeps things moving along, more or less, and the appealing cast hit their marks, but it’s dispiriting to see him directing what is effectively a feature-length Disney promotion. I hope it’s his last big-studio ad.
  14. Praise This
    The film reads like a faux-hip youth pastor in movie form, only instead of an acoustic guitar, it’s an 808 drum machine luring the kids toward God.
  15. Spinning Gold
    With filial care but a flawed script, the filmmaker delves into what drove Bogart, the man, more than Bogart, the artis.
  16. Saint Jack
    There are some pleasant things in Saint Jack, but there are few surprises, except for the fact that either the movie's editor or Mr. Bogdanovich, who directed the film and wrote the screenplay with Howard Sackler and Paul Theroux (based on the novel by Mr. Theroux), hasn't found a simple way to indicate the passage of time.
  17. Chupa
    Though the concept is promising, and some moments are tender, one wishes the film had delved deeper into the chupacabra myth and the characters’ stories to make for a more satisfying watch.
  18. What the Hell Happened to Blood, Sweat & Tears?
    The film frames them as having been somehow embroiled in a political situation, rather than actively, knowingly engaged in it — and its attempts to remain apolitical and focus on the music are as naïve as the band’s.
  19. Ruby Gillman, Teenage Kraken
    Not even the matriarchal link at the story’s center feels satisfying, its good intention strangled by the plotty chaos.
  20. Pinball: The Man Who Saved the Game
    The movie strives for a knowing, amiable tone. It achieves a cutesy, slight one instead.
    • 65 Metascore
    • 40 Critic Score
    Land of the Pharaohs
    While it is impressively sweeping in its eye-filling pageantry, this saga of the building of a colossal pyramid 5,000 years ago is staged on the creaky foundation of a tale of palace intrigue that must have been banal even in the First Dynasty.
  22. Five Nights at Freddy's
    You may chuckle, but it’s hard to tell if the movie is laughing with you.
  23. The Lost Weekend: A Love Story
    Whatever the truth of Ono’s manipulations in this affair — and Pang’s claims, including that Ono asked Pang to look after Lennon in an especially personal way, are at times hair-raising — they tinge this saga with a resentment that’s off-putting.
  24. Brigadoon
    Vincente Minnelli's direction lacks his usual vitality and flow. Brigadoon on the screen, we must say, is pretty weak synthetic Scotch.
  25. Drive-Away Dolls
    Drive-Away Dolls only snaps alive when the ever-reliable Domingo is on camera and — with just a few hushed words and his trademark charisma — he inevitably draws you in with the promise of a movie that never materializes.
  26. Insidious: The Red Door
    The leaden screenplay would be easier to overlook if there were more spooky sequences.
  27. The Day the Earth Stood Still
    It is comforting, of course, to have it made plain that our planetary neighbors are much wiser and more peaceful than are we, but this makes for a tepid entertainment in what is anamolously labeled the science-fiction field.
  28. Star Trek: Section 31
    "Section 31,” bravely directed by Olatunde Osunsanmi, is a dog’s dinner of head-snapping reversals and explanatory dialogue — a movie with little on its mind but mayhem.
  29. Don't Bother to Knock
    It requires a good deal to play a person who is strangely jangled in the head. And, unfortunately, all the equipment that Miss Monroe has to handle the job are a childishly blank expression and a provokingly feeble, hollow voice. With these she makes a game endeavor to pull something out of the role, but it looks as though she and her director, Roy Baker, were not quite certain what.
  30. The End of Sex
    In The End of Sex, parenthood appears to turn adults into babbling adolescents who blush and freeze up in the face of sexual opportunity. This dynamic is supposed to be cringe-funny, but over the course of an hour and a half, this staid farce proves otherwise.
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