The New York Times' Scores

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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
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  1. Back in Action
    Back in Action has a better cast than its (often mawkish) writing earns. Mostly, the familiarity takes its toll.
  2. Onlookers
    This is a concept in search of a movie, and an academic exercise that doesn’t give observers much to work with.
  3. Borderlands
    You can see the jokes, but most of them don’t land. Still, there is some neat design work if you squint.
  4. Amelia's Children
    A hilariously awful collision of soap opera and horror movie, Amelia’s Children teeters so precariously on the cliff top of comedy that one wishes the director, Gabriel Abrantes, had dared to kick it over the edge.
  5. Gardens of Stone
    Though a seriously conceived film about the American experience in Vietnam, Gardens of Stone has somehow wound up having the consistency and the kick of melted vanilla ice cream.
  6. Every Time We Say Goodbye
    Tom Hanks is utterly out of place in the Israeli romance Every Time We Say Goodbye...for at least two reasons: because there's something so innately comic about him, even in solemn surroundings, and because he has so much more energy than the film does.
  7. Blood for Dust
    This sluggish, self-serious job-gone-wrong movie could itself stand to be jolted to life.
  8. Catching Fire: The Story of Anita Pallenberg
    Pallenberg is finally in focus. But the picture is tough to look at.
  9. The Nude Bomb
    It's not a question of too little, too late, but of too much, too long.
  10. Five Nights at Freddy's 2
    With its jacked-up production budget, “Freddy’s 2,” at the very least, delivers more intricate set pieces that allow for a spatter of solid kill scenes — the rest is as tame and creaky as its signature animatronic teddies.
  11. The Killer's Game
    The action choreography is better than passable, although Perry adds grindhouse-movie levels of gore and dismemberment in a dubious effort to up the thrill quotient.
  12. Fluke
    Though it is meant to be whimsical and touching, the film's style is leaden, and its story has more danger than excitement.
  13. All That Heaven Allows
    Solid and sensible drama plainly had to give way to outright emotional bulldozing and a paving of easy clichés.
  14. Bite the Bullet
    A big, expensive Western that doesn't contain one moment that might be called genuine.
  15. Space Cadet
    The jokes feel tired. The actors are mostly doing their best, but the screenplay too often leaves them mimicking comedy rather than performing it.
  16. Despicable Me 4
    There’s still occasional fun to be had and a budget that’s clearly put to use, but we’re mostly here, it seems, to keep the Minion cash cow chugging along.
  17. Tempest
    Experiencing it is like watching a 10-ton canary as it attempts to become airborne. It lumbers up and down the runway tirelessly, but never once succeeds in getting both feet off the ground at the same time. The spectacle is amusing in isolated moments but, finally, exhausting.
  18. Double Dragon
    Although these scene-setting futuristic details have some humorous promise, "Double Dragon," the movie they embellish, is an incoherent children's adventure based on a popular video game.
  19. Never Let Go
    Berry is drained of glamour for her role here, and she performs with fierceness; the two boys are also stalwart, but what the movie asks these child performers to do doesn’t add up to effective horror — it’s just opportunistic and gross.
  20. Coup!
    This implication that virility trumps effeteness is, amid an otherwise straightforward comedy, an uncomfortably regressive way to tell the story of how people vie for power in hard times.
  21. Matt and Mara
    Matt and Mara is less a movie than an idea for one. It doesn’t help that neither character is likable, or that the director and writer, Kazik Radwanski, fills the screen with close-ups in lieu of information.
  22. Slingshot
    The paranoia sets in all too quickly in this awkwardly paced thriller, and it’s among a handful of defects in a film whose creative process seemed to begin and end with its final twist in mind, haphazardly and unconvincingly working backward to construct what’s necessary to build up to i
  23. There's Always Tomorrow
    What happens next is cut to order—routine procedure, as they say.
  24. The 4:30 Movie
    Effort goes only so far, and The 4:30 Movie doesn’t surpass Smith’s usual limitations.
  25. When Worlds Collide
    Mr. Pal barely gets us out there, but this time he doesn't bring us back.
  26. Jurassic World Rebirth
    If the franchise wants to be more than a shell of its former self, it’s going to need to recapture the wonder so many felt as kids, or adults, when faced with something so beautifully grand as a dinosaur.
  27. Family Pack
    The game itself is so good. I’m not sure the movie understands why.
  28. The Quiet Ones
    The theft that inspired the movie has been called one of the biggest in Denmark’s history. It deserved a sleeker film.
  29. Brothers
    For a road-trip buddy comedy, a greater crime than being unfunny is perhaps, amid all of the shenanigans, being dull. That is partly the feeling one is left with in the R-rated movie Brothers, which, even with an A-list cast, seems to move on autopilot through all of its pit stops.
  30. Elevation
    Directed by George Nolfi (“The Adjustment Bureau”), Elevation is distinctive not for its innovations in form or narrative — it’s got nothing new to offer — but for the anxieties and attitudes it telegraphs.
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