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 Believers
    An absurd, especially cheerless movie about child-sacrificing devil-worshippers who've slipped out of Africa and, via East Harlem, have come down into midtown Manhattan to infiltrate the ranks of the white establishment. In addition to everything else that's wrong, The Believers is more than a little bit racist.
  2. The Occupant
    The Occupant gets eyebrow-raisingly nasty without ever getting interesting.
  3. Pirates
    Pirates is a Roman Polanski grossout. There's a rat in the soup and urine in the bath water and corpses all over the place. There's slipping and sliding and colliding, stabbings, bludgeonings and tumbles from the mast. Nothing is left underdone except the hilarity, the one good excuse for such low-jinks on the high seas.
  4. Grizzly
    Grizzly is not only clumsily plotted, photographed and edited, it is also downright rude when it insists on showing us the bear lopping off an arm or decapitating a horse. Because it's not good enough to earn the right to scare us, I would hope intelligent adults would avoid it and that parents would give it a personal X.
  5. Revenge of the Ninja
    A sadistic, bloody, foul-mouthed action movie.
  6. Almost Love
    The aimless characters in Almost Love like to talk through their feelings, their aspirations, their disappointments, but there is little substance in their epiphanies, and the comedy is too low key to make up for its absence.
  7. The Tomorrow War
    The Tomorrow War is betting its flash will blind us to its vacuity.
  8. The Wizard
    Video-addicted kids may well find this exciting, but for anyone old enough to stay out later than 9 P.M. it's a distinct bore.
  9. Cyborg
    The movie's endless action sequences are so stylized and overedited that they lack any visceral punch. And Mr. Van Damme's Gibson is so opaque that he makes Mel Gibson's Mad Max seem weepy by comparison.
  10. Four Kids and It
    Though the Psammead grants the children’s wishes . . . they come with a catch: a set up for an unimaginative moral lesson and nearly two hours of lukewarm familial bonding.
  11. A Fine Mess
    Mr. Edwards, who on happier occasions gave us the Pink Panther movies, piles on the pileups until you may suspect that he is trying to distract the audience from the absence of a diverting story or dialogue.
  12. Abe
    This is a maudlin and predictable film, with oversimplified, kid-friendly takes on complex political issues. It’s also a surprisingly joyless production, lacking the stylistic and emotional flair to deliver even on the cheesy, feel-good promise of the setup.
  13. Infinite
    Infinite muddles around with some wishy-washy Eastern philosophy, and has mostly charmless actors (with the exception of Ejiofor, magnetic against the odds) duel and drive while mouthing exposition that lacks even a wisp of subtext.
  14. Capone
    The fantasy sequences are duller than the campy images from the present action.
  15. Stardust
    The director, Gabriel Range, who wrote the movie with Christopher Bell, opted to press on, even after he was denied permission to use Bowie’s songs. They might not have helped much, however.
  16. Ricochet
    The screenplay, by Steven E. de Souza (whose credits include the Die Hard movies), contains many glib, obscene wisecracks, plus the misinformation that Anna Karenina was Tolstoy's first book.
  17. Rising High
    Other than its misogyny, the movie, stacked with try-hard hedonism, fails to provoke more than mild annoyance.
  18. Not Without My Daughter
    It's a seriously intended movie that goes grossly comic when it means to be most solemn. It's a tale of mother love and freedom that is both mean and narrow.
  19. Nothing But Trouble
    A charmless feature-length joke about the world's most elaborate speed trap.
  20. Come Play
    Come Play feels secondhand in its overarching conceit, its scare tactics and even its sentimentality.
  21. Blood and Money
    As derivative as its title and as implacable as its declining hero, Blood and Money suffers from near-calamitous narrative lapses.
  22. Body Cam
    Despite the ripeness and flammability of its material, the movie feels oddly distant, the screenplay marred by weak scares, graceless plotting and dashed-off characters.
  23. The Crush
    Never succeeds in becoming either torrid or scary. It does generate a few chuckles in its depiction of what are supposedly the workings of a chic and hard-hitting magazine...The Crush is for the most part grindingly predictable and mechanically played.
  24. Survive the Night
    It’s possible to imagine a tight, suspenseful version of this home invasion chestnut, but Survive the Night is paced to run out the clock.
  25. The Power of One
    The film's facile treatment of racial issues may be enough to bring back the practice of throwing tomatoes at the screen.
  26. You Should Have Left
    Koepp and Kehlmann’s screenplay fails to properly set the groundwork for the film’s final twist, instead dropping egregious and poorly incorporated hints on the sluggish march to a telegraphed conclusion. And the direction, too, feels languid, almost mechanical, with rote terrors and tones robbed from horror movies past.
  27. The Singing Nun
    It takes a soft heart and a strong stomach to absorb the amount of saccharine that is studiedly and shamelessly dished up in Henry Koster's The Singing Nun.
  28. Viena and the Fantomes
    The Mexican-born Naranjo, best known for the showy 2011 thriller “Miss Bala,” here depicts the toxic gender relations of young louts — culminating in assault, forced drugging, and general grossness and incoherence — with a stoic grimness that wants to look like resigned wisdom. It’s not.
  29. Tom & Jerry
    The de rigueur slapstick scenes for the title characters don’t even play, as the integration of animation and live action is so clunky that it feels like we’re watching special effects demonstrations rather than gags.
  30. The Rental
    Featuring one of the most dissatisfying, anticlimactic endings in genre memory, this paranoid thriller (the directing debut of Dave Franco) turns an isolated seaside villa into a slaughterhouse.
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