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. Mary Magdalene
    Unfortunately, it’s a confused and frequently enervating effort.
  2. Dolittle
    The charm of this fantasy has always been dubious and will presumably fade as the natural world continues to disappear and more and more species become extinct.
  3. i hate myself :)
    It takes an especially robust sense of self to so openly invite ridicule, rendering the film’s title somewhat less than credible.
  4. Home Again
    For her directorial debut, Home Again, Hallie Meyers-Shyer, Nancy Meyers’s daughter, has made a shabby copy of a Nancy Meyers romantic comedy.
  5. Whisky Galore!
    Gone is the original’s joyful sense of mischief; what’s left is an inoffensive piece of twaddle that never fully appreciates the ineluctable bond between community spirit and a drop of the hard stuff.
  6. Goodbye Christopher Robin
    Erratically paced and with a pitch-black heart, the movie manipulates at every turn.
  7. Once Upon a Time in Venice
    The movie tries for propulsive Tarantino grit but ends up being just another annoying example of Hollywood’s addiction to stories in which graying white men bed beautiful young women and beat up men much more youthful and fit than they are.
  8. Overdrive
    Overdrive has all the features of a potentially entertaining action B-movie for overgrown boys: gorgeous near-mint vintage cars, rugged male performers, seductive female performers, ravishing European locations. What it doesn’t have is a lot of cinematic adrenaline.
  9. Bohemian Rhapsody
    A baroque blend of gibberish, mysticism and melodrama, the film seems engineered to be as unmemorable as possible, with the exception of the prosthetic teeth worn by the lead actor, Rami Malek, who plays Freddie Mercury, Queen’s lead singer.
  10. Aardvark
    Mr. Shoaf wastes an excellent cast (and one cute aardvark — you knew there’d be one) in a movie of astonishing vacancy.
  11. Woodshock
    Unlike their spring 2018 fashion collection, Kate and Laura Mulleavy’s first foray into moviemaking, “Woodshock,” is depressingly dull and terminally inarticulate.
  12. Winchester
    Despite the typically elevating presence of Helen Mirren, this super-silly feature (the fifth from the Australian brothers Peter and Michael Spierig) stubbornly resists being classed up.
  13. The Beach Bum
    What The Beach Bum celebrates as transgression is pure tedium. What it takes for divine lunacy is frat house doggerel. The booze flows freely. The women are topless and ornamental. The cars and boats are fast and expensive. There’s nothing much worth writing about.
  14. Forever My Girl
    The director, Bethany Ashton Wolf, who adapted the screenplay from, yes, a romance novel by Heidi McLaughlin, can concoct some Hallmark-greeting-card-quality shots, but has little flair for piecing them together. The lead actors are very pretty.
  15. The Boy Downstairs
    How, and in whose apartment, Diana and Ben will confess their emotions is the subject of Ms. Brooks’s pallid dramedy, which leaves its actors looking somewhat stranded, as if waiting for Neil Simon zingers that were never written.
  16. Charlie's Angels
    Banks wants to fight a righteous fight. But she is selling stale goods in which adult women spout girl-power clichés and conform to norms that make it very clear what kind of heroines still get to fly high: young, thin, beautiful, perfectly coifed, impeccably manicured and profoundly unthreatening.
  17. The Boss Baby: Family Business
    A baby in a suit? Always cute. Recycled gags? Not so much — this “Boss Baby” just didn’t get the memo.
  18. Breathe
    Offering no hint of the backbreaking drudgery and mental strain of their predicament, this gauzy picture (produced by the couple’s son, Jonathan Cavendish, and directed by his friend, the actor Andy Serkis) is a closed loop of rose-tinted memories.
  19. Legend
    Mr. Cruise goes through all this nonsense gamely, as if it were an initiation into a fraternity he wants very much to join.
  20. The Thing
    The Thing is too phony looking to be disgusting. It qualifies only as instant junk.
  21. Spies Like Us
    There are seeds of something funny in the film's beginning and in its premise, but they are soon dissipated by so little sustained wit, and so much scenery.
  22. Killing Ground
    Certainly, the senselessness of bloodshed may be Mr. Power’s point. But with this setup, such a message is all but muted.
    • 24 Metascore
    • 30 Critic Score
    Maximum Overdrive
    For the most part, [King] has taken a promising notion - our dependence on our machines - and turned it into one long car-crunch movie, wheezing from setups to crackups.
  24. The Night Flier
    A thuddingly blunt contemporary morality tale devoid of wit and only minimally suspenseful.
  25. Needful Things
    Though this is by no means the grisliest or most witless film made from one of Mr. King's horrific fantasies, it can lay claim to being the most unpleasant. Why? Because when you strip away the suspenseful buildup to a King story, you're often left with mechanical moralizing and crude, sophomoric small talk. Needful Things has more of both than any film could ever need.
  26. The Presidio
    It doesn't help that the mystery plot seems half-baked in the end, or that none of the actors appear entirely comfortable with their roles. Miss Ryan looks edgy and spends a lot of time tossing her hair. Mr. Harmon is easygoing and attractive, but his nice-guy manner belies his character's steely talk.
  27. The Only Living Boy in New York
    Allan Loeb’s script is glib and grating.
    • 25 Metascore
    • 30 Critic Score
    Cobra
    A disturbing movie from many points of view: disturbing for the violence it portrays, the ideas it represents and the large number of people who will undoubtedly go to see it and cheer on its dangerous hero.
  29. Gotcha!
    Gotcha is about as devoid of personality as it's possible for a narrative movie to be.
  30. I Do... Until I Don't
    A movie that has neither a coherent point nor an authentic character.
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