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. Wrong
    Wrong lets most of its random gags and view-askew premises twist in the wind like hamhandedly wacky improv comedy, punctuated with synthesizer effects. The film’s misguided flatness is perhaps its fatal flaw, not so much deadpan or existential as just monotonous.
  2. Machete Kills
    All too soon, Machete Kills collapses into a deranged, directionless splatter comedy that exhausts its bag of tricks, many of them recycled from this grindhouse auteur’s 2010 spoof.
  3. Jurassic World
    There’s more flab than muscle packed on this galumphing franchise reboot, which, as it lumbers from scene to scene, reminds you of what a great action god Steven Spielberg is. Too bad he didn’t take the reins on this.
  4. Knife Fight
    The tone of Knife Fight is mean until the movie flips a switch and turns pious and mawkish as Paul tries to make amends for past sins. Whether playing it sleazy or noble, Mr. Lowe brings little emotional weight to his role.
  5. Jobs
    The Great Man theory of history that’s recycled in this movie is inevitably unsatisfying, but never more so when the figure at the center remains as opaque as Jobs does here.
  6. Grudge Match
    [An] overlong, drab, not-so-funny sports comedy.
  7. Baggage Claim
    Predictability and clichés get in the way of comedy here, especially with a lead character who rarely comes across as more than blandly sweet.
  8. Inescapable
    Plagued by clunky action sequences and a porous plot the cast visibly wilts.
  9. Kafka
    Kafka is opaque without ever being mysterious, frightening or suggestive of anything but movie making. Its chases through dark narrow streets don't create suspense, since nothing is at stake.
  10. Rubberneck
    It’s dragged down by non-scene after non-scene, and filmmaking choices that don’t earn their keep.
  11. The Condemned
    The Condemned is uncanny only in its resemblance to a television soap, with acting as flat as the lighting and scenes that end with the kind of cliffhanger moments that otherwise announce commercial breaks.
  12. Kiss of the Damned
    More focused on philosophy then feeding, “Kiss” marries a mash-up of undead clichés (I know, let’s have another lingering shot of the moon!) to hilariously stilted conversations.
  13. The Reluctant Fundamentalist
    By literalizing the idea of American military aggression and all that it implies Ms. Nair doesn’t just invest Mr. Hamid’s story with Hollywood-style beats, she also completely drains it of ambiguity.
  14. Don't Stop Believin': Everyman's Journey
    This one-note documentary from Ramona S. Diaz is as hostile to conflict as the group’s songs themselves.
  15. Mental
    Mental wildly overplays the kookiness and quirk.
  16. Kon-Tiki
    There’s no denying the real Heyerdahl’s bravery, but if this movie is to be believed, his voyage was largely bereft of tension and interesting conversation.
  17. Family Weekend
    This belabored comedy, directed by Benjamin Epps, has a slick visual veneer and some capable performances, especially by Ms. Rulin and Ms. King. But the script, by Matt K. Turner, is loaded with contradictions, its hollow flirtation with subversion amount to airplane pablum.
  18. Annie
    The cast would have been better served by a middle school production overseen by a creatively frustrated, inappropriately ambitious drama teacher than by this hacky, borderline-incompetent production, which was directed by Will Gluck from a screenplay by Aline Brosh McKenna.
  19. My Amityville Horror
    These days, when paranormal-themed shows are all over television, Mr. Lutz sounds like just another guy peddling an unverifiable spooky story.
  20. Erased
    Viewed solely as a string of action sequences, Erased delivers the kind of dryly efficient, wearyingly familiar entertainment that already clogs too many of our movie screens.
  21. Crimewave
    It's full of film knowledge and is amazingly elaborate for a low-budget movie. The only problem is that it's not funny. One smiles at the inspiration of the jokes, though not at their execution.
  22. V/H/S/2
    The horror anthology has a long tradition, going at least as far back as the British classic “Dead of Night,” in 1945. The best offer surprise endings or a sense of humor. You won’t receive much of either here. Just vertigo and maybe a wicked case of induced attention deficit disorder.
  23. K-11
    To borrow RuPaul’s delightful catchphrase, the only possible response to a project like this is to advise it to “sashay away.”
  24. Crazy and Thief
    It’s a far cry from the wonders of Morris Engel’s “Little Fugitive” and might have been better off in a kid’s-size portion as a short.
  25. The Kill Hole
    The film grasps for credibility with scenes of a support group (featuring some real veterans) and cryptic voice-overs that strive for profundity but achieve only pretentiousness.
  26. Paris-Manhattan
    Were it not for the charming Patrick Bruel as a no-nonsense security expert and Alice’s unlikely suitor, this spun-sugar concoction would be well nigh unwatchable.
  27. Love Sick Love
    Love Sick Love deteriorates into a series of pranks that are not funny enough to register as comedy or brutal enough to qualify as horror.
  28. Himmatwala
    Himmatwala feels timid and overeager. Except when it’s terrible.
  29. Leonie
    Leonie Gilmour was almost certainly unusual and unusually self-reliant. Too bad that the film that bears her name ultimately reduces her to the mother of her child.
  30. Le Pont du Nord
    It's another example of the ever-widening gap between the real world and the fantasies of a kind of artistic temperament more concerned with random self expression than with the expression of coherent feelings or ideas about love, alienation, outrage, politics or even of movie-making. It shrivels the imagination instead of enriching it. [7 Oct. 1981]
Page:

Top Trailers

See all »
See all trailers »