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. Locked Down
    The best that Locked Down has to offer, at least while we remain in the throes of a deadly crisis, is a window into a luxurious space to quarantine.
  2. Jade
    Though the combination of Linda Fiorentino, Chazz Palminteri and David Caruso promised Jade some fire, it winds up with no more spark than a doused campfire.
    • 38 Metascore
    • 30 Critic Score
    Death Rides a Horse
    As usual, the clutter of clichés is exceeded only by the excessive sound and fury.
  4. Bliss
    Bliss fails to engage the senses, resulting in cinematic disappointment.
  5. Don't Tell a Soul
    A plot twist saves (that might not be the word for it) Don’t Tell a Soul from being absolutely oppressive, merely by injecting a scintilla of “what happens next” appeal — and letting the always-interesting Wilson stretch a bit.
  6. Blithe Spirit
    Surplus buffoonery and a new ending add nothing to the original, leaving us with a movie that obsesses over death while showing all too few signs of life.
  7. The Perfect Weapon
    A macho fantasy of physical control, grace and invincibility in which women are all but absent.
  8. Cool as Ice
    All it really wants to be is a hiphop answer to one of Elvis Presley's sillier vehicles. But the movie, which was directed by David Kellogg and written by David Stenn, fails to deliver an ounce of musical energy.
  9. The Eyes of Tammy Faye
    The Bakkers were many things to many people: appalling, inspiring, laughable, sad. This movie succeeds in making them dull.
  10. Honeydew
    Food — its preparation, consumption and just what the hell its ingredients are — figures in a minimal plot that the filmmakers inflate in a variety of slick but ultimately unimpressive ways (particularly in the editing).
  11. Zack Snyder's Justice League
    Hope isn’t manufactured. It can’t be limited to a shadow of a gesture or shouldered by one man whose extraordinary abilities are heralded in the “super” of his name. And it’s definitely not in the cinematic equivalent of a four-hour-long cut scene.
  12. Getting Even with Dad
    Both Mr. Danson and Mr. Culkin make the film's predictable ending far more effective than it might have been. They are warm without being sappy. It's too bad that the audience, parents and children, are likely to have grown restless long before then.
  13. Untamed Heart
    Untamed Heart is to the mind what freshly discarded chewing gum is to the sole of a shoe: an irritant that slows movement without any real danger of stopping it.
  14. Sniper
    As written, directed and played, Miller is as much of a nonentity as Beckett. Their initial enmity and subsequent reconciliation have no more dramatic impact than the battle scenes, which look as if they were planned by amateurs. The two central characters remain as vague as their targets, who are briefly seen at a distance through gun sights.
  15. Young Hearts
    Imagine mumblecore with actual mumbling and no wit, even though those lo-fi auteurs, the Duplass brothers, are executive producers.
  16. The NeverEnding Story II: The Next Chapter
    Made with great effort and no charm, this mirthless fantasy film returns its young hero, Bastian Balthazar Bux (Jonathan Brandis), to the land of Fantasia, which when first glimpsed here appears to be made entirely of cellophane.
    • 19 Metascore
    • 30 Critic Score
    The Sentinel
    Nagging thoughts are not supposed to arise in horror pictures—last summer Mr. Winner predicted that this picture would be extremely horrifying — but The Sentinel has long stretches where there is nothing to do but notice things.
  18. Mac and Me
    With its cardboard family and familiar aliens, MAC and Me would seem like the generic version of E. T. if it were not so full of brand-name commercials.
  19. A Week Away
    This is a film as tidy, transparent and kid-friendly as a square of Jell-O salad, and so squishily eager-to-please that it doesn’t engage with its religious themes so much as tuck them into song lyrics to hover in the narrative like grapes.
  20. Love Potion #9
    Given the premise, which is said to be inspired by the song by Jerry Leiber and Mike Stoller, virtually everything that happens can be predicted from the opening frame.
  21. Voyagers
    This dull dig into human nature owes more to the aesthetics of Calvin Klein than the terrors of outer space.
  22. Desperate Hours
    What has been lost is more than Bogart's gritty presence.
  23. Baggio: The Divine Ponytail
    It’s possible that Baggio: The Divine Ponytail will resonate with soccer fans. But the protagonist’s reputed greatness has not made it to the screen.
  24. Freejack
    The film's frequently dark, grimy look and such digressions as a demonstration of how to eat river rat will appeal chiefly to those who like their science fiction on the squalid side.
  25. Fat Man and Little Boy
    Fat Man and Little Boy is so confused, so stunningly ineffective, that General Groves's hawkish statements are more persuasive than the dove-ish apprehensions expressed by the scientists. Even the sight of a scientist dying horribly of radiation poisoning fails to be moving.
  26. The Unholy
    Playing the evil entity with convulsive movements and a killer manicure, the contortionist Marina Mazepa turns in the movie’s most entertaining performance. That’s if you don’t count Morgan looking genuinely baffled as to what he’s doing here at all.
  27. Split Second
    Within the genre of supernatural thrillers, Split Second is fairly dull. Mr. Hauer's Stone is an expressionless, unsympathetic lug who grunts his lines in a near monotone that sometimes becomes unintelligble in the movie's muffled soundtrack. The film is so desperate to create tingles that poor Miss Cattrall has to endure two protracted nude scenes -- one in a shower, the other in a bathtub -- in which she is menaced. Neither is especially spine-tingling.
  28. Moby Doc
    What Moby leaves out of his account is as revealing as the tales of homelessness and addiction he puts in.
  29. Why Did You Kill Me?
    Just because a crime is true doesn’t mean it’s interesting. And as Why Did You Kill Me? makes clear, without substance, a dash of style won’t do.
  30. Under the Stadium Lights
    Some sports movies build to inspirational speeches; Under the Stadium Lights treats platitudes as the main event.
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