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. Unlucky Plaza
    The multicultural milieu lends an initial boost as Mr. Kwek’s jokes and plot entanglements take potshots at life in Singapore, but all the air seeps out of this attempt at zippy, tabloid-nutty storytelling.
  2. Solace
    Staggeringly silly and visually disordered.
  3. Colonia
    It somehow manages to feel more like a Hallmark Channel romance than like a serious film.
  4. Lazer Team
    Lazer Team ends by setting itself up for a sequel, but that’s mighty wishful thinking. There’s not a big demand for laugh-free comedies.
  5. Desierto
    The movie isn’t interested in fully developed characters, just carnage.
  6. Dark Night
    Until its climax, which clearly seeks to be congratulated on its restraint, Dark Night is not much more than an arty bore.
  7. Road Games
    The cast doesn’t quite succeed in keeping the suspense fresh throughout the story’s left turns.
  8. The Preppie Connection
    This film fails even to evoke the ’80s in costumes, soundtrack or other atmospherics.
  9. Sacrifice
    Dowling’s direction, while competent, also trots out every cliché that a 90-minute movie can contain.
  10. A Strange Course of Events
    Mr. Nadjari, who wrote the screenplay with Geoffroy Grison, may have been intending a minimalist character study, but even so, he has abdicated his responsibility: Too much of this family drama is left to the audience to fill in.
  11. The Cloverfield Paradox
    The actual movie is strangely plain, eyesore-overlit and uselessly frantic.
  12. Rio, I Love You
    Tourism is what it has to sell.
  13. Nina
    Ms. Mort’s writing lacks psychological texture, and her direction generates little intensity, or even continuity.
  14. An Eye for Beauty
    A low point in the director’s career, this sleek chilly film isn’t acted so much as posed.
  15. Ktown Cowboys
    The film doesn’t have the focus, pacing or plotting of the best of such bromance tales.
  16. Special Correspondents
    There’s nothing wrong with the type of movie Special Correspondents wants to be. The problem is that Mr. Gervais doesn’t appear capable of making a good version of it.
  17. The Girl in the Photographs
    This sad slasher is as lacking in scares as in ideas.
  18. Mothers and Daughters
    Mothers and Daughters is full of recognizable stars and heartfelt conversations. Unfortunately, it’s largely devoid of the kind of character development that can give such conversations real impact.
  19. Manhattan Night
    Unlike the juicy, overripe prose in the novel from which it was adapted, Mr. DeCubellis’s screenplay is utterly lacking in style. Mr. Brody captures his character’s attitude, but the colorless screenplay robs the character of literary imagination.
  20. The Neon Demon
    The Neon Demon is hot garbage that dares you to call it offensive. In addition, it’s offensive.
  21. CHIPS
    Borderline incoherent and unrepentantly lewd, this buddy-cop comedy (based on the 1977-83 television series of the same name) substitutes cars, ’copters and motorcycles for actual characters
  22. ma ma
    Penélope Cruz is an Oscar-winning actress we don’t see often enough in prominent leading roles. So how disappointing to find her having to carry Julio Medem’s florid Ma Ma, a melodrama only glancing at profundity.
  23. Cell
    Dated, despondent and pretty much a disaster, Cell plays like a series of nods to other science fiction-horror hybrids, notably “The Matrix” (1999) and Philip Kaufman’s 1978 remake of “Invasion of the Body Snatchers.”
  24. Baaghi
    Because the filmmakers have given their characters labels (rebel, guru, villain) instead of personalities, the movie’s bid for epic resonance feels particularly hollow.
  25. USS Indianapolis: Men of Courage
    The film, directed by Mario Van Peebles, brays the story in broad strokes and clichés as if the horror of it didn’t speak for itself, which it most certainly does.
  26. From the Land of the Moon
    Ms. Cotillard can be magnetic even when playing an unplayable character, but when Gabrielle falls for a veteran (Louis Garrel, who has perfected the facial expression of someone looking for another conversation), the chasm between her abilities and her co-star’s is mountainous.
  27. The Meg
    Unlike “Sharknado,” The Meg doesn’t seem to know how dumb it is.
  28. Septembers of Shiraz
    It’s a movie whose good heart is outweighed by its heavy hand.
  29. Fight Valley
    Disappointing plot twists ensue in a climactic brawl starved for snappier choreography and editing.
  30. War on Everyone
    Mr. McDonagh’s palette and spleen remain mostly intact, but here he’s neglected to include a story or point.
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