The New York Times' Scores

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For 20,280 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: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. Hot to Trot
    Although Michael Dinner's direction is noticeably better than the material, the film aims consistently for the lowest common denominator.
  2. Joker
    To be worth arguing about, a movie must first of all be interesting: it must have, if not a coherent point of view, at least a worked-out, thought-provoking set of themes, some kind of imaginative contact with the world as we know it. Joker, an empty, foggy exercise in second-hand style and second-rate philosophizing, has none of that.
  3. Blue Iguana
    In absence of either good humor or good set pieces, Blue Iguana is a heist gone bust.
  4. Turbo: A Power Rangers Movie
    Five-year-olds who have read their Shakespeare will recognize that Turbo is a lot of sound and fury signifying nothing.
  5. Mighty Morphin Power Rangers: The Movie
    Noisy and meant for children only. A bored grown-up's only consolation is that the Rangers' popularity has probably peaked, and the next kiddie phenomenon must be on the way.
  6. 47 Meters Down: Uncaged
    It’s hard to care for characters when what they do and say rings so false. The result plays like the kind of sleazy exploitation movie that the first one so studiously avoided becoming.
  7. Where Hands Touch
    The stridently theatricalized violence is horrific only because it’s so abjectly manipulative. By the end of the movie, my jaw felt unhinged from dropping so often.
  8. Screwballs
    Screwballs establishes that - in the absence of talent - teen-age prurience, old Thunderbirds, rock music and hula hoops do not add up to entertainment.
  9. A Whale of a Tale
    A Whale of a Tale is a rambling blend of complaint, tourism and straw-men arguments. What it’s not is persuasive.
  10. Spring Break
    Each beer-guzzling marathon inevitably leads to one of those bathroom scenes that provide the film with just about its only jokes.
  11. Summer '03
    Vacant in emotion and in cinematic perspective, the movie looks back 15 years but struggles to make an impression longer than 15 minutes.
  12. Second-Hand Hearts
    Second Hand Hearts needs far more than a change of title to save it from oblivion. It needs a screenplay that doesn't treat its characters as if they were waste baskets to be filled with prose that any self-respecting writer would hide from his best friend.
  13. The Slugger's Wife
    It's a shock to find Neil Simon's name attached to something as resoundingly unfunny as The Slugger's Wife.
  14. Viking Destiny
    A bit of low-budget Nordic nonsense that only makes you appreciate the visual finesse and rowdy discipline of the History channel’s “Vikings.”
  15. The Last Suit
    An unfortunately contrived Holocaust drama that labors under the delusion that the subject matter lends itself to uplift.
  16. Donnybrook
    Ear-shredding to listen to (the soundtrack, between chunks of a comically portentous score, is mostly thrash metal) and soul-destroying to watch, the movie trembles with tragedy. Yet because almost everyone and everything — dialogue, image, setting — is presented in such broad, symbolic strokes, we feel absolutely nothing.
  17. Out of Blue
    Out of Blue botches the source material’s story, misses its mordant humor and inverts its despairing core. Much of this is the filmmaker’s prerogative. But “Out of Blue” doesn’t strike out only as an adaptation. What it offers on its own is tepid and predictable.
  18. Child's Play 3
    Child's Play 3, directed by Jack Bender, misses the sharpness and dark humor that the director and co-writer Tom Holland brought to the original.
  19. Navajo Joe
    The latest of a succession of super-bloody Westerns made by Italians and Spaniards in Spain with Italian, Spanish and American actors, this time led by Burt Reynolds, as the American titular superhero who dispatches troops of villains singlehanded. Shot in color but decidedly colorless.
  20. The Best Little Whorehouse in Texas
    This film lacks even the inadvertently buoyant awfulness that makes some bad movies fun. It's just plain dull.
  21. Exorcist II: The Heretic
    Exorcist II begins by looking foolish and slowly becomes a straightfaced film of the absurd.
  22. The Chaperone
    Despite a thoroughly modern central character, this impeccably costumed, wishy-washy period piece feels like it emerged from a PBS storage trunk, wrapped in tissue paper and reeking of mothballs.
  23. The Final Conflict
    In the cast are many, many dogs, who are charmed by Damien in a way no audience is likely to be.
  24. Night Hunter
    Caught between a hero with no personality and a villain with way too much (Fletcher’s slobbering performance has to be seen to be believed), Raymond comforts himself with shots of people gazing pensively at clues and pulling grisly things from drains.
  25. King Kong Escapes
    The Toho moviemakers are quite good in building miniature sets, but much of the process photography—matching the miniatures with the full-scale shots—is just bad.
  26. Lords of Chaos
    Akerlund, a veteran music-video director who intersperses Lords of Chaos with mildly surrealistic bursts, never establishes a coherent or interesting point of view. The tone unproductively veers from the goofy to the creepy, which creates a sense that he was still figuring it out in the editing.
  27. Godzilla, King of the Monsters!
    The whole thing is in the category of cheap cinematic horror-stuff.
  28. Antlers
    The film’s self-seriousness is as oppressive as its setting’s monotonous fog.
  29. Miss Bala
    This version, in the dreariest Hollywood-remake tradition, turns a grim, morally ambiguous story into a fable of empowerment. That might be kind of fun if it didn’t feel so tired and timid.
  30. Pimp
    Lousy with stereotypes and filthy language, the sordid Pimp wraps 21st-century blaxploitation in a lesbian love story as unconvincing as every other relationship on screen.
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