The New York Times' Scores

Select another publication »
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
view
per page
  1. The Warrior Queen of Jhansi
    An unfortunately clunky, relentlessly corny salute to Rani Laxmibai.
  2. Best Defense
    It really isn't easy to make a movie as mind-bendingly bad as Best Defense. It takes hard work, a very great deal of money and people so talented that it matters when they fail with such utter lack of distinction.
  3. House II: The Second Story
    It means to be funny, with a cast including several talented young comedians (among them Bill Maher, as a record business exectuvie), but it's not.
  4. Race with the Devil
    This is a ridiculous mishmash of a movie for people who never grew up, which is not so say it's for children. One would think that Mr. Fonda and Mr. Oates had better things to do, but perhaps not. American movie production is in a bad state.
  5. Drop Dead Fred
    Drop Dead Fred wants to be an offbeat cross between "Harvey" and "Beetlejuice," but it is more like a shrill, interminable episode of "I Dream of Jeannie."
  6. The Turning
    It’s the movie’s open-endedness and literary vestiges that sit uneasily with its repetitive goosings, which manifest in exceedingly familiar ways.
  7. Shivers
    It's apparent that someone connected with They Came From Within has an impertinent sense of humor even though the film is so tackily written and directed, so darkly photographed and the sound so dimly recorded, that it's difficult to stay with it.
    • 45 Metascore
    • 30 Critic Score
    The Shaggy Dog
    The picture races into a wild chase of a climax that is pure bunk.
  9. Radioflash
    At fault is a threadbare, irritatingly vague script (by the director and artist Ben McPherson) that simply strings together a series of generic setups and forgettable characters.
  10. Cubby
    Whatever charms the filmmakers envisioned are nowhere apparent in these 83 cringe-worthy minutes.
  11. A Kid in King Arthur's Court
    Sluggish and low-energy.
  12. Sister Act 2: Back in the Habit
    The sequel suffers from a lame, saccharine premise and a fatally earnest manner.
  13. Crown Vic
    Souza’s feature plays like an amalgam of the tropes of numerous TV and movie police procedurals.
    • 37 Metascore
    • 30 Critic Score
    Night of the Lepus
    The film relies almost entirely on slow-motion shots of ordinary rabbits running through miniaturized settings or in front of scaled-down back projections. It is this technical laziness as much as the stupid story or the dumb direction that leaves the film in limbo and places it in neither one camp nor the other.
  15. Blumhouse's Fantasy Island
    This is all interesting from a pro-am cinema semiotics perspective, but none of it is in the least bit scary. This, really, is what happens when you take all the wrong lessons out of film school.
  16. Witchboard
    The very best I can say is that Witchboard should encourage struggling film makers. Watch it and think, ''I can do better than that!''
  17. Leprechaun
    The title character in the new horror film titled Leprechaun is supposed to be fiendish but, though the movie's body count is respectable, he seems to be no more than dangerously cranky. That may be because the setting is rural North Dakota, which doesn't suit leprechauns, or because the screenplay and direction are amateurish, which doesn't suit films of any kind. [09 Jan 1993, p.17]
    • The New York Times
  18. Antebellum
    Written and directed by Gerard Bush and Christopher Renz, and propelled by the charisma of Janelle Monáe, it lines up moments of possible insight and impact and messes up just about all of them.
  19. Body of Evidence
    Body of Evidence ranks with the Edsel. It's not going anywhere. As a movie, it looks as if it wanted to be Basic Instinct, though it winds up more like Ilsa, She-Wolf of the SS.
    • 41 Metascore
    • 30 Critic Score
    The Terminal Man
    The picture moves as slowly as a glacier—an image that's reinforced by the repetitive shots of long, white hospital corridors, white bathrooms and home décor—in fact, it's a white-on-white movie. There's no suspense; the only frightening moments occur when you fear it may last forever, especially during the seemingly endless operation and an interminable manhunt.
  21. The Great War
    It simply does not have the budget or craft for the scale it requires.
  22. The SpongeBob Movie: Sponge on the Run
    “Sponge on the Run” may take us back under the sea, but this sponge is all dried up.
  23. Dabangg 3
    Dabangg 3 is earnest, and it earnestly wants to deliver thrills. To do so, though, it would have to provide that other essential Bollywood ingredient: emotion. What’s missing are the tears. The movie hardly leaves a trace.
  24. A Christmas Prince: The Royal Baby
    Although it offers a dungeon, a curse and a shocking theft, this flat, anodyne movie is unlikely to join the pantheon of holiday classics, so keep a rein on your expectations and accept that you’ll need something more to salvage the evening.
  25. The Swarm
    Mr. Allen might just as well have devoted his talents to man-eating goldfish, poodles on the rampage or carniverous canaries.
  26. VHYes
    Even when the ghost of a point materializes — that recording ephemera can be a self-soothing behavior — VHYes is too unsophisticated to develop it.
  27. The Lovebirds
    Rae and Nanjiani do their best, but neither the dialogue nor the direction serves their talents adequately.
  28. Three for the Road
    The director, B. W. L. Norton, and the writers, Richard Martini, Tim Metcalfe and Miguel Tejada-Flores, display no idea whatsoever of how to keep a film moving or how to hold an audience's interest. Listlessness and sloppiness on this scale are truly depressing.
    • 46 Metascore
    • 30 Critic Score
    Futureworld
    A film about robots and, evidently, for robots. It is as much fun as running barefoot through Astroturf.
    • 34 Metascore
    • 30 Critic Score
    A Fall from Grace
    Ultimately, nothing is much of a surprise in a story that fails to untether itself from Perry’s longest lasting trope: the sad black woman.
Page:

Top Trailers

See all »
See all trailers »