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. Elliot: The Littlest Reindeer
    New evidence for the case that computer animation is homogenizing children’s movies, robbing them of visual interest, this harmless, charmless movie plods along well-trodden turf.
  2. Down Periscope
    If Down Periscope, directed by David S. Ward, has the ingredients for a lively spoof of everything from Mutiny on the Bounty to Crimson Tide, they are slapped together so crudely that nothing gels, including any sense of a coherent ensemble. The tone of the acting, which is set by Mr. Grammer's blandly laid-back performance, is all wrong for a genre that demands over-the-top hamming.
  3. Wet Woman in the Wind
    Genre homage or not, trashy, assault-coddling sexism is a turn off — and worse. Perhaps the “roman porno” reboot project should have rebooted its sexual politics before calling “action!”
  4. The Dancer
    This movie, which stars Stéphanie Sokolinski, the French musician known as Soko, in the role of Fuller, only comes alive during the dance sequences.
  5. Abe & Phil's Last Poker Game
    The medical tidbits, however awkwardly presented, are the most distinctive aspects of the script. The flat direction, alas, is not the work of a filmmaker.
  6. Rosa Chumbe
    The women’s missteps seem to come straight out of a cautionary morality play. And the movie’s dismal outlook even extends to the dimly-lit cinematography. It doesn’t need a miracle to see the light. It needs a full pardon.
  7. Dark Meridian
    Chases, shootouts and showy camera moves are executed deftly enough, but given the frugal trappings, they play as overambitious — an attempt to make a storage tank of lemonade from one lemon.
  8. The Goldfinch
    It looks and sounds like a movie without quite being one. It’s more like a Pinterest page or a piece of fan art, the record of an enthusiasm that is, to the outside observer, indistinguishable from confusion.
  9. PCU
    P.C.U. turns out to be a surprisingly lame and unfocused campus comedy, one that pays remarkably little attention to its own comic possibilities.
  10. Heaven's Gate
    Nothing in the movie works properly. For all of the time and money that went into it, it's jerry-built, a ship that slides straight to the bottom at its christening. Heaven's Gate is something quite rare in movies these days - an unqualified disaster.
  11. Alita: Battle Angel
    A pileup of clichés in service to technological whiz-bangery, “Alita” is one more story of the not quite human brought to life with hubris and bleeding-edge science.
  12. Three Men and a Cradle
    Three Men and a Cradle is almost totally charmless. It's funny in the way of someone who, in attempting to explain a joke, thoroughly destroys the humor, which, I assume, is mostly the fault of Coline Serreau, who wrote and directed it.
  13. The Miracle Season
    That The Miracle Season is based on a true story makes it tough to endure and to review, because it’s no pleasure to report that filmmakers have turned real-life tragedy and tenacity into a manipulative weepie.
  14. Blumhouse's Truth or Dare
    Truth or Dare is a wearying slog through crushed feelings and mangled bodies.
  15. The Vanishing Of Sidney Hall
    Handsome cinematography and a highly competent supporting cast — including Michelle Monaghan, Nathan Lane and Alex Karpovsky — can’t save The Vanishing of Sidney Hall, a tortured mystery dripping with pretentiousness.
  16. The Music of Silence
    This blah trudge from cradle to stage will be catnip to his fans and Ambien to everyone else.
    • 37 Metascore
    • 30 Critic Score
    The Gumball Rally
    After they all start off, and once you get used to the rather handsome speeding-car effects, which is soon, the movie seems to be nothing but one long exhaust pipe. There is only so much that can be done with scenes of cars passing each other.
  18. Arizona
    As the movie wears on, one suspects that the writer Luke Del Tredici and the director Jonathan Watson aren’t crafting an indictment of toxic masculinity, but an invitation to take some sadistic enjoyment in it, without consequences.
  19. Ernest Goes to Camp
    There have been worse ideas for innocuous summer films, but not many worse executions. The slapstick is tame and predictable. The characters and their inspirational message are served up as neatly - there's no avoiding this - as if they were in commercials.
  20. Turner & Hooch
    It isn't [Hanks's] fault that the five writers don't come up with five funny lines or one exciting scene.
  21. Three O'Clock High
    The film jabs so relentlessly at the viscera that the audience is never allowed to notice anything independently; if Mr. Joanou wants you to spot a license plate, for instance, he drives the car right into a floor-level camera.
  22. An Innocent Man
    More than enough sadism to go around. But the net effect is less excitement than overkill. The screenplay, by Larry Brothers, has a tendency to forget old plot elements as it picks up new ones.
  23. Bad Samaritan
    The Bad Samaritan director, Dean Devlin, handles the proceedings like Adrian Lyne (who directed “Fatal Attraction”) on HGH supplements (and divested of over a third of Mr. Lyne’s visual elegance, such as it is).
    • 44 Metascore
    • 30 Critic Score
    Spinning Man
    A few moody flashbacks and daydreams are presumably intended to add to the noirish sense of uncertainty and unease, but instead of intensifying the mystery, they dissipate it.
  25. Serenity
    More than half the reason I went to see this movie is because I miss “Fool’s Gold,” too. But that movie is 11 years old. And the days of low-stakes thingamabobs with some stars and even a little bit of writing are gone. Instead of a caper with Kate Hudson, McConaughey has got a mess written and directed by Steven Knight.
  26. The Hitcher
    Existential terror, in the case of Robert Harmon's Hitcher, means an unmotivated viciousness that's as cryptic at the story's end as it was at the beginning.
  27. Sonic the Hedgehog
    Other than product placement, the movie’s primary goal seems to be delivering 1990s nostalgia.
  28. Shirley Valentine
    Banality is precisely the problem with Shirley Valentine, the one-woman stage play that has been turned into a misguided, fully cast film.
  29. The Way West
    What they have to go through to reach Oregon is nothing to compare to what an old Western fan has to go through to keep from getting up in the middle and walking out.
  30. Chasing Great
    For a movie that revolves around a notoriously violent sport, Michelle Walshe and Justin Pemberton’s profile takes a soft, superficial approach. It makes a rote installment of ESPN’s “30 for 30” look like Pulitzer-worthy muckraking.
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