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. Bad Genius
    Despite the film’s aims at spiky commentary, the class rebellion mostly serves as the thin wrapping to, at best, a middling heist movie that loses some of the punchy tension of the original’s getaway sequences. At its worst, it’s no more than a teenage soap opera.
  2. Modi - Three Days on the Wing of Madness
    The energetic and arguably strenuous performance by the lead actor, Riccardo Scamarcio, is something of a flex, to be sure.
    • 56 Metascore
    • 40 Critic Score
    The Invisible Woman
    The script is as creaky as a two-wheeled cart and were it not for the fact that John Barrymore is taking a ride in it we hate to think what "The Invisible Woman" might have turned out to be.
  4. Pedro Páramo
    Where this rich, metaphysical text might have come alive in dreamlike abstraction, Prieto and his screenwriter, Mateo Gil, instead content themselves with a prestige Western on terra firma — grave, good-looking and uninspiring.
  5. Larger Than Life: Reign of the Boybands
    Disappointingly, the documentary prioritizes historical play-by-plays over deeper analysis, spending much of its running time tracing the influence of one boy band on the next. These stories rarely intersect in a way that builds a meaningful or compelling perspective, which might leave viewers asking, what’s the point?
  6. Endless Summer Syndrome
    None of these potentially intriguing avenues play out with much thought, diminishing the emotional effect of a tragedy that winds up seeming like an exercise in style.
  7. Dirty Angels
    Suffers from the discord between the real-life conflicts that make up its setting and the cartoonish characters who propel its plot.
  8. Ad Vitam
    The minimal plot purports to endorse spartan storytelling, but after a promising start the movie detours into an overlong flashback. This may be to give Franck emotional weight, but it only creates belly fat.
  9. Wish You Were Here
    The fault seems to be in the chemistry, not just between the leads — it’s tough to believe that Charlotte and Adam have the connection on their night together that the movie insists upon — but between all of the characters.
    • tbd Metascore
    • 40 Critic Score
    Tomorrow Is Another Day
    Its tensions are manufactured and apparent. List "Tomorrow Is Another Day" as just another picture.
  11. Frankenstein Meets the Wolf Man
    Universal will have to try again.
    • 47 Metascore
    • 40 Critic Score
    Son of Dracula
    Often as unintentionally funny as it is chilling.
  13. Juliet & Romeo
    Watching this largely misbegotten movie (which seems to fulfill all of its aspirations with an utterly tacky ending), then, sometimes brought to mind the sardonic Steely Dan tune “Show Biz Kids.”
  14. King Lear
    The most depressing thing about this Godard work is that it seems so tired, familiar and out of date. The movie's 1960's-ish worship of film as an end in itself, which was a mark of so many earlier, more ebullient Godard movies, now is lifeless.
  15. Opus
    Whoever Opus is supposed to be sending up, its aim is a bit wide of the mark. But even if the movie’s only real goal is to frighten, it bets far too much on its eventual twists.
  16. Green and Gold
    While it speaks well of Nelson’s integrity as a performer that he doesn’t make much effort to render Buck as ingratiating, the result is that the character can be a bit of a drag. His affection for his wife, Margaret (Annabel Armour), shows his softer side.
  17. The Invisible Man Returns
    The Invisible Man Returns is a mite on the ghostly side, too, although neither so horrendous nor so humorous as the first one was.
  18. Until Dawn
    The director, David F. Sandberg (“Annabelle: Creation”) does an exhausting job moving along a script, written by Gary Dauberman and Blair Butler, that’s made slack by mediocre monsters, muddled time loop stuff and underdeveloped characters who seem straight out of a lesser “Goosebumps” episode.
  19. Caught Stealing
    For whatever reason here, Aronofsky always remains at a frustrating remove from Hank, which flattens the emotional and psychological stakes that Butler works so hard to raise.
  20. The Tall Target
    Unless the three authors of this picture have access to some new and startling source, there is no basis other than legend for the silly murder plot unfolded here.
  21. A Sloth Story
    A Sloth Story suffers from a plasticky visual design. The characters seem stiff, like action figures, and their food items, meant to look appetizing, are often rendered as colored medallions.
  22. Going All the Way
    In "Going All the Way," a flashy movie adaptation of Dan Wakefield's popular 1970 novel about growing up in the heartland in the repressed 1950s, Mark Pellington, a director from the world of music video, has inflated a realistic memoir into a garish, hyperkinetic social satire.
  23. Happy Gilmore 2
    The early and largely easy fun begins to curdle into inanity that simply drags (there is, oddly enough, way too much actual golf in this movie), before devolving into an overextended fever dream of celebrity cameos.
  24. Fountain of Youth
    The movie acknowledges its many antecedents.
  25. Nonnas
    Nonnas serves up ethnic comedy on a platter of ham and cheese.
  26. 18 Again!
    References to Harry Truman and the Roaring Twenties are perhaps meant to appeal to an older audience, as is Red Buttons as Jack's friend, but ''18 Again'' isn't successfully aimed at anyone in particular.
  27. The Roses
    I’m here to litigate “The Roses,” and on that front I’m quite confident that it’s a strangely boring failure, whoever’s at fault.
  28. Manon of the Spring
    The events in ''Manon of the Spring'' are no more wildly melodramatic than those in ''Jean de Florette'' but, without the indoctrination provided by ''Jean,'' the second film functions as a mean-spirited review of the first.
  29. Him
    For too long, we’re like players stuck in a dark stadium tunnel, retreading the same concepts and fending off opaque threats, when all we wanted was some action.
  30. The Invisible Man's Revenge
    Unfortunately, trick photography is not sufficient to maintain a whole film, and this one reveals quite plainly that you don't see much when you see an "Invisible Man."
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