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 'Burbs
    So little goes on that it might be argued that The Burbs means to be a comment on the vacuity of popular entertainment in the television age, though it's much more an example of it. The film does nothing for the reputation of anyone connected with it, including Mr. Hanks, who deserves the Oscar nomination he has just received for his work in Big. This time he's attempting to act a role in a screenplay whose pages are blank.
  2. Darkness Rising
    There are almost too many references to other movies for this one to become its own monster.
  3. Gemini Man
    The idea of confronting an unknown second self is full of rich, uncanny potential — there’s a literary tradition going back at least to Edgar Allan Poe — but Gemini Man squanders it, along with what might have been two interesting performances.
  4. False Confessions
    There is little to recommend here, even for Huppert completists who follow her anywhere.
  5. True to the Game
    The direction, by Preston A. Whitmore II, seems hampered by either a lack of resources or a lack of interest.
  6. Armed Response
    The possibilities are intriguing, but the characters are underdrawn, and the pacing lags.
  7. Lemon
    Reviewing Lemon feels like taking a sucker’s bet, treating the film with a reverence it never even asks for.
  8. Bushwick
    The filmmakers feign boldness in tackling national politics, but revert to coyness and caricature when it comes to local matters, gesturing toward a multiculturalism that isn’t even skin deep and sweeping gentrification under the rug.
  9. The Black Prince
    A dramatic life does not necessarily a dramatic film make.
  10. Season of the Witch
    Hungry Wives has the seedy look of a porn film but without any pornographic action. Everything in it, from the actors to the props, looks borrowed and badly used. [12 Dec 1980, p.8]
    • The New York Times
  11. Action Point
    True, Johnny Knoxville gets power-hosed down a slide and catapulted into a barn for our amusement, but the inventive, stake-raising, borderline surrealist gags of the old “Jackass” are gone.
  12. Chronically Metropolitan
    One longs to praise Mr. Manrique for attempting a serious-minded story in this, his first feature. But there needs to be a real reason to embrace it, rather than what’s on this screen.
  13. Rememory
    A hodgepodge of pseudoscientific twaddle and variously shifty murder suspects, Rememory satisfies neither as science fiction nor as psychological drama.
  14. 6 Days
    With a barrage of title-card identifications, 6 Days can feel closer to a re-enactment than a thriller. To the extent that the movie has a political angle, it’s perhaps gratuitously jingoistic.
  15. Do It Like An Hombre
    The movie flouts its intolerance in an attempt at provocative humor. Unless you laugh at fossils, I have no idea why you should buy a ticket to gawk at this dinosaur.
  16. Jaws: The Revenge
    Lorraine Gary has some affecting moments as Ellen, but Jaws the Revenge is mild and predictable, the very things an adventure movie should never be.
  17. Crash Pad
    The movie’s premise isn’t as bad as the forced, unnatural dialogue. Even the reliable Ms. Applegate and Mr. Church can’t salvage the screenwriter Jeremy Catalino’s clumsy lines.
  18. Class
    The movie can't make up its mind whether it's a lighthearted comedy, set in what appears to be a posh New England-style prep school just outside Chicago, or a romantic drama about a teen-age boy who has a torrid affair with his roommate's mother. Either way it's pretty awful.
  19. Mom and Dad
    Mr. Taylor offers up nothing but glitchy editing and bad vibes.
  20. Submergence
    The movie feints in the direction of confronting horrific geopolitical realities, but there’s a specter of sentimentality hovering above the proceedings, waiting to smother everything in sight.
  21. Alina
    Although the internet and cellphones exist in the movie, there’s a dated quality to the premise.
  22. Stroker Ace
    The must-miss movie of the summer. It's a witless retread of the earlier, far funnier road-movie collaborations of Mr. Needham and Mr. Reynolds.
  23. The Amityville Horror
    So many horror-movie clichés have been assembled under the roof of a single haunted house that the effect is sometimes mind-bogglingly messy. There is apparently very little to which the director, Stuart Rosenberg, will not resort. Scary things do happen in the movie, but they're always telegraphed in advance and make too little sense to have a cumulative effect.
  24. Euphoria
    Notwithstanding a lively turn from Charles Dance as a chatty brain-tumor sufferer and a perfect Charlotte Rampling as a tranquil guide to oblivion, Euphoria gives up the ghost well before either of its unhappy heroines.
  25. Heroes
    Heroes, co-starring Henry (The Fonz) Winkler and Sally (The Flying Nun) Field, brings to the motion-picture theater all of the magic of commercial television except canned laughter. Well, no truly rotten movie is perfect. Harrison Ford, who may be one of the most-seen movie actors of the day because of his role in Star Wars, is effective in a supporting role too small to make the picture worth seeing.
  26. Born American
    Comprised of so many derivative bits and pieces that it's not surprising the movie has too little narrative coherence or momentum to keep us going, and no characters we care about enough to root for.
  27. Tommy Boy
    Their best moments are some throwaway routines; they weep in the car as they sing along to the Carpenters' "Superstar." More often, the movie goes for stale, obvious sight gags like Tommy's slow destruction of Richard's precious car. As mismatched-buddy teams go, Felix and Oscar have nothing to worry about here.
  28. Hangman
    Hangman is riddled with holes — blank spaces, if you will.
  29. Cutthroat Island
    Cutthroat Island proves too stupidly smutty for children, too cartoonish for sane adults and not racy enough for anyone who regards Ms. Davis in a tight-laced bodice as its main attraction. The only serious incentive for seeing this spectacle is a fascination with extravagance, since Cutthroat Island is indeed scenic, hectic and big.
  30. Blame
    Blame is earnest but underdeveloped. At the same time, it’s overdetermined and often overplayed.
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