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 Pursuit
    Hot Pursuit is just what you'd expect from such a stale formula: a misadventure in paradise that makes ''Gilligan's Island'' look like ''The Night of the Iguana.''
  2. Lady Beware
    A denouement as clunky as the title.
  3. Johnny Be Good
    But mostly the satire is as dated as the recruiters' plaid jackets, as lame as the Johnny Walker joke.
  4. DeepStar Six
    Even the fish lack personality in Deepstar Six, a film that makes the exotic undersea world not much more interesting than the average bedroom closet.
  5. Shang-Chi and the Legend of the Ten Rings
    The film uses the superficial markers of Asian culture and filmmaking without presenting anything unique in its Marvel take on that tradition.
  6. Blackbird
    The characters are so flimsy, and so wearyingly familiar . . . that Michell is incapable of giving their conflicts life.
  7. A Score to Settle
    Not even John Newman’s distressingly awful dialogue can slow Cage’s roll to a histrionic finish.
  8. Our Friend
    This drippy drama presents precisely the kind of prettified portrait of death that Teague’s candid writing sought to rebut.
  9. Saaho
    The movie is crisply, sometimes stylishly shot (Madhie did the cinematography), but it’s too muddled to be slick and too lacking in charm to establish any emotional stakes.
  10. The Package
    The Package is a feeble attempt to keep the old-fashioned cold-war thriller alive in this era of glasnost...Mr. Davis has directed what may be the worst movie Gene Hackman has ever made.
  11. Greener Grass
    A deadpan take on suburban hell — I hesitate to call it a comedy, black or otherwise — the movie takes competitiveness to such excruciatingly surreal lengths that every would-be joke feels agonizingly strained.
  12. Secret Admirer
    The film's sole ray of sunshine is Fred Ward, who reveals an unexpected flair for comedy in the role of Deborah Ann's father, a police detective with a very hot temper and a vein in his forehead that visibly throbs.
  13. Slam Dance
    Put them all together and you have complete confusion, a movie without any identity whatsoever.
  14. The Fearless Vampire Killers
    This beautifully produced, superbly scenic and excitingly photographed spoof of old-fashioned horror movies is as dismal and dead as a blood-drained corpse.
  15. Tales From the Crypt Presents Bordello of Blood
    Vampires aren't the only things in Bordello of Blood that can't stand up to daylight. Neither can the plot.
  16. Edie
    Hancock is wasted here, as are the meaty dramatic threads that Elizabeth O’Halloran’s formulaic screenplay never bothers to pull.
  17. Maniac Cop
    The acting is stiff, the dialogue is stiffer and the action scenes are laborious. Even the presence of professionals like Sheree North and Richard Roundtree, in small roles, tend to diminish them rather than improve the film.
  18. Navy Seals
    It might have helped if the film makers had had the humor to see they were turning out ''Teen-Age Mutant Ninja Seals.'' As it is, they take their explosives and their silly roles much too seriously.
  19. Underwater
    It’s a challenge to keep action coherent and build suspense in the submerged environment simulated in “Underwater,” but Eubank doesn’t meet it, instead falling back on stale shocks that are not credibly buttressed by swelling bass effects on the soundtrack.
  20. The Woman in the Window
    The result is something that intermittently looks and sounds like a good movie without ever actually being one.
    • 64 Metascore
    • 30 Critic Score
    The Naked Prey
    A poor and tasteless motion-picture entertainment, redeemed somewhat by its authentic African setting and its effective use of tribal drums and native music as the accompaniment for a primitive jungle chase.
  22. Lionheart
    Van Damme, who has nonetheless made eight films in six years, including "Bloodsport," "Cyborg" and "Kickboxer." His looks are memorable but his acting skills stunningly limited, confined mostly to the flexing, seething and pouting realm. Should anyone be in the market for an all-new Hercules, Mr. Van Damme might at the very least take a number. But when it comes to even the minimally dramatic events of Lionheart, he's in over his head.
  23. Hot Air
    The film feints at comedy with background gags and an occasional broad performance or two, but it’s primarily a dramatic story — and not a focused one at that.
  24. American Skin
    Instead of lending immediacy, the padded-out documentary conceit only spotlights the stiltedness, and Parker falls short of building credible drama out of urgent issues.
  25. Mary
    Narrative ellipses and a slew of visual clichés — like vague shapes, ghostly footprints and disorienting flashes of light — make Mary (the name shared by the ship and the couple’s younger daughter) a particularly unsatisfying possession yarn.
  26. Ága
    The movie’s truth is presumably meant to rest in its emotions, in the spilled tears of its characters, but the only things at stake here are the cozy sniffles of the art-film patron.
  27. Revenge
    A flaccid movie version of Jim Harrison's slightly less flaccid 1979 novella...The movie is soft and aimless. Revenge is the kind of film in which subsidiary characters and events are more interesting than anything the movie is supposed to be about. Even the brutality has no shock effect.
  28. She's Out of Control
    Anyone who has watched television for even a night will be able to predict every scene in She's Out of Control with total accuracy. It is an extended version of familiar, bland sitcom situations, with Mr. Danza playing a smoother-edged version of his character on the endlessly running hit ''Who's the Boss?''
  29. The Bonfire of the Vanities
    Gross, unfunny...In adapting it to the screen, Mr. De Palma and Michael Cristofer, who wrote the screenplay, have made a series of wrong decisions that have the effect of both softening the satire and making it seem more uncomfortably racist than the Wolfe original.
  30. Jungleland
    The sweaty clichés enacted along the way are uniformly tired and ultimately offensive. A love scene near the movie’s finale, Winkler’s vision of sex among the underclass, is a caricature that could comfortably fit in the new “Borat” movie.
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