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. The Foreigner
    Mr. Chan is in his early 60s, and he doesn’t deliver the action pizazz here that he used to. Nor, frankly, does he summon enough gravitas to be persuasive in the role of a grief-maddened father. For what it’s worth, Mr. Brosnan, as Quon’s nemesis, sells the angry-all-the-time requirement for his character.
  2. Tomb Raider
    There are many ways for a movie to go wrong, and Tomb Raider goes wrong in many of the most obvious: It has a generic story, bad writing, a miscast lead, the wrong director and no fun.
  3. Table 19
    Table 19 is so awkwardly structured and tonally off-kilter that its moments of catharsis feel wholly unearned.
  4. The 9th Life of Louis Drax
    It’s not clear whether The 9th Life of Louis Drax is deliberately inconsistent or merely an example of confused filmmaking. One thing is certain, however: It sure leaves an unpleasant aftertaste.
  5. Skiptrace
    Skiptrace settles for a warmed-over plot, tedious fight sequences and humor that’s heavy on crotch jokes and pratfalls.
  6. For a Few Bullets
    Even with the tongue-in-cheek tone, it’s impossible to overlook the exhausting series of contrivances, coincidences and sloppy filmmaking.
  7. Rupture
    Dreary, derivative and flat-out dopey, this dragged-out torture tale will disappoint even those whose hearts race whenever they see a female character strapped to a bed.
  8. Level Up
    Unlovely and uninvolving, Level Up is a running-man cocktail of brutality spiked with low-level humor.
  9. The Brooklyn Banker
    Acting chops are occasionally on view — Mr. Sorvino and Mr. Proval play well together — but the plot is weak, the subplots tacked on.
  10. I.T.
    John Moore, the director, and Dan Kay and William Wisher, the screenwriters, don’t have anything new to add to that familiar dynamic.
  11. Brother Nature
    Every new generation has to learn the lesson: Comedy success on the small screen doesn’t guarantee the same on the big screen. If anything, it guarantees the opposite.
  12. A Dog's Purpose
    You don’t need an animal-rights group’s boycott to give you permission to avoid A Dog’s Purpose. You can skip it just because it’s clumsily manipulative dreck.
  13. My Dead Boyfriend
    My Dead Boyfriend desperately tries to look and sound like a quirky indie hit, but that’s not an achievable goal when you have an unlikable lead character indifferently rendered by a name star.
  14. Come and Find Me
    The writer-director Zack Whedon toggles his plot between “Out of the Past” and “Three Days of the Condor” with highly mixed results before letting loose with a hilariously unconvincing climactic reveal.
  15. The Duelist
    The clichéd story line pursues turgidity with a relentless determination.
  16. Bad Kids of Crestview Academy
    Bad Kids of Crestview Academy traffics in exploitation movie flourishes.
  17. Robin Hood
    The plot is twisty in a perfunctory way, the action predictably explosive, the sought-after exhilaration nonexistent.
  18. The Belko Experiment
    The Belko Experiment is a grisly, sick-making exercise in sadism that tries to camouflage its base venality in a thought-experiment plot.
  19. Youth in Oregon
    A depressing slog that could have been so much more.
  20. Blind
    The film, directed by Michael Mailer, wanted to be a steamy romance, but it ended up leaden and occasionally laughable.
  21. A Bad Moms Christmas
    Add the magnificent Christine Baranski to the mix and A Bad Moms Christmas, while still a slog of base sight gags and lazy profanity, becomes marginally more bearable. Only marginally, given that this pitiful follow-up to last year’s “Bad Moms” is even less able to distinguish between crass and comedic.
  22. The House That Jack Built
    Something feels off with von Trier’s sense of artistry now. Something feels stuck, like his head’s wound up lodged in his rear, which brings the movie closer to “The Human Centipede” than I would have thought. But this isn’t cinematic horror. It’s proctology.
  23. The Ottoman Lieutenant
    The Ottoman Lieutenant is an overwrought nurse romance merged with a history lesson, a combination that is hard to take as seriously as the film wants to be taken.
  24. Midnight Sun
    Under the limp direction of Scott Speer, Midnight Sun suffocates its sentimental script, portraying passion without wonder, sacrifice without ecstasy.
  25. One Piece Film: Gold
    If you’re a boy between, say, 8 and 12 and wired to the hilt on Coca-Cola, the shrill, exhausting “Gold” might be for you. But only if.
  26. Paris Can Wait
    By the time the final meal is devoured, you’ll be wanting nothing so much as an antacid.
  27. Bright
    You’ll find beatings, shootouts, car crashes, awkward analogies and a measure of buddy badinage in “Bright,” but true enchantment is in short supply.
  28. Like Me
    With little more than the superficial psychology of shallow characters to guide the movie’s squeamish images, Like Me irritates, but it proves unable to provoke more than mild gut reactions.
  29. The Girl in the Spider's Web
    Alvarez tries to pep things up with chases, near escapes, dramatic rescues, fetish wear and female nudity. But the whole thing is a bummer, at times risible.
  30. Hot Summer Nights
    Perhaps this picture’s higher function is to be a calling card. But I don’t know what a calling-card project that demonstrates that its maker can semi-successfully mimic artistically vital but uncommercial directors is supposed to prove. For me, it mostly proved a waste of time.
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