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. The Driver
    Written and directed by Walter Hill, who once wrote and directed a good movie, Hard Times, with Charles Bronson. This one is not good. It is Awful Movie. It is Pretentious Movie. It is Silly Movie. It talks just like this.
  2. The Heavenly Kid
    Guardian angel movies almost always have a little charm, but The Heavenly Kid has none.
  3. Looker
    The premise, though, is the only satisfying thing about Looker, which Mr. Crichton has directed from his own original, stupifyingly nonsensical screenplay.
    • 61 Metascore
    • 30 Critic Score
    Vanishing Point
    A movie about which I can think of almost nothing good to say.
  5. The Golden Glove
    Akin may deserve credit for not flinching from the grotesque; other serial-killer-adjacent entertainments, like “The Silence of the Lambs,” “Zodiac” or “Mindhunter,” tend to concentrate on the cerebral mechanics of crime solving. But sordid details, undermined by snickers, aren’t in themselves illuminating.
  6. Rollover
    The dramatic possibilities of the material are weak at best, and its satirical underpinnings are nowhere to be found. As for the characters, they are either deeply unsympathetic or, when they resort to technical jargon for very long periods of time, incomprehensible.
  7. Possession
    It's a movie that contains a certain amount of unseemly gore and makes no sense whatsoever.
  8. Villains
    Despite some committed performances, particularly from a refreshingly natural Maika Monroe, Villains is a hackneyed farce rich in gimmicks and poor in substance.
  9. The Pirate Movie
    The Pirate Movie stars Kristy McNichol and Christopher Atkins in a cut-rate kiddie version of Gilbert and Sullivan, laced with synthetic pop ballads and leavened with infantile dirty jokes.
  10. Stuck
    When the characters are singing, you can’t wait for them to get back to talking. And when they’re talking, you can’t wait for them to get back to singing. After a while, you start wishing you were watching that TV ad with a bunch of people on a bus, singing about how they have a structured settlement but they need cash now.
  11. Naples in Veils
    A tedious muddle.
  12. Thriller
    Some early, halfhearted attempts at social relevance aside, Thriller is an act of quotation and little else. It’s less a movie than a mix tape.
  13. Dreamland
    It’s a lot of hooey and might have been at least tolerable if the movie had been rougher, meaner, tighter, and if the filmmakers — the writer is Nicolaas Zwart, the director is Miles Joris-Peyrafitte — had never watched a Terrence Malick movie.
  14. The Place of No Words
    It’s sweet, personal and tedious.
  15. Murder Mystery
    Aniston and Sandler have a goofy, relaxed rapport that is often amusing despite the film’s best efforts to smother any sign of verve.
  16. A Regular Woman
    A film that feels exploitative, not enlightened.
  17. My Son
    An endorsement of milquetoast vigilantism that’s not nearly as knotty as it presumes to be, the French thriller “My Son” is so reserved in its storytelling and vague in its details that all it elicits is a yawn.
  18. Daughter of the Wolf
    With facile plotting — you could fashion a pretty deadly drinking game out of all the scenes in which someone gets knocked out, or is conveniently left for dead — and humdrum action, the lack of depth or dimension becomes fatal.
  19. Being Frank
    It’s a period movie with little style and a family flick wholly lacking in charm or warmth.
  20. David Cross: Oh Come On
    With the possible exception of his jokes about fatherhood, which are sharp, unsentimental and more economical than the rest of his digressive 70 minutes, Cross’s labored new special picks easy targets.
  21. Liberté
    Explicit but in no sense pornographic — it’s rather like antimatter with respect to pornography — Liberté plays an arguably specious moral and intellectual game, poking around the porous areas between squalor and perdition, and ultimately producing a pictorial and aural container of tedium.
  22. The Professor
    Depp’s turbocharged archness is basically the whole show.
  23. Bringing Up Baby
    After the first five minutes of the Music Hall's new show - we needed those five to orient ourselves - we were content to play the game called "the cliche expert goes to the movies" and we are not at all proud to report that we scored 100 per cent against Dudley Nichols, Hagar Wilde and Howard Hawks, who wrote and produced the quiz. Of course, if you've never been to the movies, Bringing Up Baby will be all new to you - a zany-idden product of the goofy farce school. But who hasn't been to the movies?
  24. The Art of Racing in the Rain
    Enzo is a bad dog, and his antics play worse for the film’s lack of discipline.
  25. Vita & Virginia
    Vita & Virginia takes a passionate, real-life affair between two enormously gifted writers and proceeds to throttle the life out of it.
  26. Cold Blood
    If Petitjean’s dialogue is problematic, its delivery is no less so: at times, the discord between a character’s words and lip movements suggests that some line readings had to be dubbed.
    • tbd Metascore
    • 30 Critic Score
    The New Kids
    A teen-age revenge melodrama that is both sadistic and wimpish.
  28. Bad Trip
    However effortful, the movie’s tricks are more likely to activate your gorge than your funny bone.
  29. Zeroville
    A raft of marquee names — including Seth Rogen, James Franco and Will Ferrell — can’t save Zeroville, a maddeningly surreal head trip through Hollywood history and movie-fan insanity.
  30. The Bedroom Window
    The only thing The Bedroom Window seems to be about is movie making - that is, it's about putting pieces of film together to create momentary effects that needn't signify anything at all. Sometimes this is called ''pure cinema.'' Sometimes, in fact, it's pure nonsense.
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