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. Lavender Men
    Tonal whiplash — farcical comedy, heavy drama, even a musical number — undermines the film’s emotional stakes. You want a better story for Taffeta, and for Lincoln and Ellsworth, too.
  2. The Long Walk
    Lawrence’s commitment to authenticity may be laudable (he filmed almost the entire project on the move in Canada), but it’s clear that he was so busy honoring the book, he forgot to entertain the audience.
    • 63 Metascore
    • 40 Critic Score
    Mr. & Mrs. Smith
    A chucklesome comedy that fails to mount into a coruscating wave of laughter.
  4. Animal Farm
    There’s a reasonably OK movie somewhere inside Animal Farm, but it’s drowning in ideological confusion, which wouldn’t be such a big deal — one rarely asks children’s cartoons featuring talking pigs to be wellsprings of thoughtful political theorizing — except that this is “Animal Farm.”
  5. My Oxford Year
    Their relationship plays out mostly to set up the film’s second half, but even when things get juicier, Mylchreest and Carson can’t seem to find much chemistry through the flat writing and direction.
  6. Prelude to a Kiss
    This "Prelude to a Kiss" is not only without charm and wit, but it's also clumsily set forth: many people seeing it may wonder what, in heaven's name, is going on.
  7. The Pickup
    Even as they find themselves running out of things to do, each actor hangs on to his or her charisma and manages to land a line every now and then.
  8. The Baltimorons
    The Baltimorons aims for bittersweet rather than wacky. Didi is lonely; Cliff struggles with sobriety. And while the film has clear affection for its Baltimore locations (it’s dedicated to the workers killed when the Key Bridge collapsed in 2024), considerably less thought has gone into creating convincing situations for those backdrops.
  9. The Map That Leads to You
    Ultimately, the romance’s sentimental plotting needs more of Heather’s grounded logic and far less of Jack’s greeting card sayings. She’s much too sensible to lose herself so quickly to his brand of bland.
  10. Eternity
    Sappy and silly, Eternity made me thank heaven for Da’Vine Joy Randolph and John Early as the quick-witted coordinators tasked with guiding our threesome to perpetual bliss. They’re a comic delight, and they aerate a movie that’s most touching when it’s least frantic.
  11. Regretting You
    It’s formulaic and predictable, with goofy writing and clumsy editing. The saving grace is the actors, who manage to perform even the most ridiculous lines with a straight face.
    • 63 Metascore
    • 40 Critic Score
    Three on a Match
    Three on a Match...is both tedious and distasteful.
  13. Dracula
    Jude is an interesting, admirably unorthodox filmmaker who likes to push his viewers. Here, he simply punishes us.
  14. The Road Between Us: The Ultimate Rescue
    It would be easy to dismiss the movie’s perspective as limited and jingoistic, but “The Road Between Us” never pretends to offer more than an in-the-moment chronicle of a violent clash. The bigger problem is that its slickness cheapens the most harrowing recollections.
  15. Eenie Meanie
    While an early, silly death . . . suggests an exuberant self-awareness a la Quentin Tarantino, other scenes, like those that position Edie and John as star-crossed lovers, indicate that this movie’s melodrama takes itself deadly seriously. But it’s hard for the audience to do so in a story that asks us to not merely suspend disbelief, but slaughter it.
  16. Pools
    Rather than being its own entry into the genre, Pools instead is a green director’s hodgepodge emulation of ideas and tricks we’ve seen elsewhere.
  17. Nuremberg
    Evidently, as this muddled movie tells it, the climactic lesson of the Nuremberg trials was that America had a friend, too.
  18. Dead Man's Wire
    When Dead Man’s Wire ends with footage of the real Kiritsis and Hall, it is hard not to conclude that a much crazier, livelier film could have been made.
  19. The Wrong Paris
    While the movie’s production design has considerable mojo — the trappings of a “Bachelor”-style reality show are sharply drawn, and the swimming hole on Trey’s ranch is practically Edenic — the anodyne writing reins in whatever satire one might have expected.
  20. The Hand That Rocks the Cradle
    While De Mornay was chilling as a woman haunted by a miscarriage and her husband’s suicide, Monroe is merely chilly, lumbering like a mopey teenager stuck with reciting unintentionally funny lines that aim for sexy but kill the mood.
  21. People We Meet on Vacation
    Occasionally cute and almost instantly forgettable, “People,” tidily directed by Brett Haley, offers less-than-witty dialogue.
  22. The Black Scorpion
    The back-lot boys working for producers Frank Melford and Jack Dietz have, for the most part, performed an adequate job. As for the human side of the plot, written by David Duncan and Robert Blees, just forget it.
  23. Crime in the Streets
    The production, which Donald Siegel has directed from the screen play of the original author, Reginald Rose, is cramped and flimsy. It matches the rest of the show.
  24. The Man I Love
    The Man I Love is both silly and depressing, not to mention dull.
  25. The Stringer: The Man Who Took the Photo
    Frankly, this hunt isn’t particularly thrilling, despite the premise’s potential to create intriguing parallels between Nghe’s erasure and the exploitation of the Vietnamese people by U.S. forces during the war.
  26. The Damned Don't Cry
    Vincent Sherman's direction is as specious as the script.
  27. Forbidden Fruits
    Though Reinhart and Pedretti chew through the scenery with dedication, the film, directed and written by Meredith Alloway, is a vibes-only pastiche that has little to add to the satirical queen-bee subgenre besides some updated slang.
  28. In Cold Light
    A depressing, downbeat thriller that hustles from one violent act to the next with only the flimsiest of narrative throughlines, the latest from the French Canadian director Maxime Giroux is an unfortunate misfire.
    • 24 Metascore
    • 40 Critic Score
    The Brave
    The movie isn’t terrible, exactly — it’s not good — but it does raise the question: Why?
  30. They Will Kill You
    A case in which a production designer and prosthetics team showed up for work but the screenwriters might as well have crowdsourced their ideas from fanboys.
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