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. Naked Singularity
    This convoluted clash of competing interests, though, is so poorly explained it’s as arduous to untangle as it is to enjoy.
  2. 12 Mighty Orphans
    12 Mighty Orphans is a plodding football drama in which the characters talk to one another like folksy social workers.
  3. Fire Birds
    Fire Birds has one director (David Green), two writers (Nick Thiel and Paul F. Edwards) and many laughs, all of them unintentional.
  4. Taking Care of Business
    This is the old, old trading places gag, and while a good idea can always be reinvented, invention is precisely what Taking Care of Business lacks.
  5. Edge of the World
    Edge of the World plugs its narrative gaps with corn and cliché.
  6. Blue Miracle
    Gratingly sentimental and simplistic, Julio Quintana’s Blue Miracle, set in Cabo San Lucas in 2014, turns a potentially compelling underdog tale into a sermon. But if you’re in the mood to see Dennis Quaid learning and growing — and engaging in sappy conversations about fatherhood — then step right up.
  7. The Ice Road
    As any Neeson watcher will tell you, you don’t mess with his action characters once their dander is up. Sadly, Neeson’s dander is no match for a hackneyed plot, poorly visualized stunts and characters whose behavior can defy common sense.
  8. Harry & Son
    A big-screen blowup of the sort of "I love you, Pop" television play that littered the small screen 25 years ago.
  9. The God Committee
    A natural ham, Grammer only amplifies what is grandiose and bogus in this material.
  10. The Misfits
    For the first 20 minutes or so — a blitz of eye candy and ear worms — its breezy action and the performers’ good cheer are enough to entertain. Too soon, though, the movie drifts into narrative doldrums that derail its momentum and drain the cast’s energy.
  11. Don't Breathe 2
    Don’t Breathe 2 is plenty lively, full of violence and action, but a rancid narrative (and some seriously terrible dialogue) overpowers the script.
  12. Megaforce
    Mr. Needham's secret weapon is Mr. Reynolds, and Mr. Reynolds isn't here. Without his overriding friendliness and humor on hand, there is too much opportunity to notice the weak spots in Mr. Needham's direction.
  13. Lansky
    The heart of this movie, directed by Eytan Rockaway, is the relationship between the writer and his subject. So it’s dismaying when Lansky turns out to include flashbacks, with John Magaro (“First Cow”) playing a much flatter version of the mobster as a young man.
  14. Chasing Wonders
    In spite of its tidy running time, Chasing Wonders is diffuse and often limp.
  15. Kate
    The movie presents an eye-catching fantasy of a candy-colored Japanese underworld. But the exoticism feels as cheap as a whiff of a green tea and musk cologne called Tokyo wafting over a department store counter. Even Winstead, stoic in her fashionably boyish haircut, looks bored.
    • 46 Metascore
    • 30 Critic Score
    Two-Minute Warning
    The movie is a blank, in other words, until the end. And then, suddenly, a lot of people are killed very gorily; and there is a mass stampede, and the football crowd becomes a panicked, murderous mob. And even the panic lacks emotion. It has momentum—lots of feet stepping on faces—and viciousness. Nothing more.
  17. La Dosis
    La Dosis harms itself by refusing lucidity. What should be a razor’s edge rivalry plays more like a hamstrung thriller.
  18. Mama Weed
    The list of charges against this watery café au lait of a crime caper is extensive — wearisome ethnic stereotypes, cop-movie clichés, awkward pacing, a labored plot — but the chief transgression is that it wastes the time and talent of one of the supreme screen actors of our time.
  19. Die in a Gunfight
    It’s a shame that it’s all so wincingly contrived. The film tries so hard to be slick, but its efforts are both unoriginal and painfully amateurish.
  20. Settlers
    Settlers purports to challenge violence against women and colonialism. Instead, the female protagonist wallows in powerlessness for most of the movie, and a boxy robot is ultimately presented as more sympathetic than a displaced brown man.
  21. Fin
    There is little here that was not already tackled in Rob Stewart’s 2007 documentary “Sharkwater,” nor in the more recent, less artful “Seaspiracy.” Though where Stewart painstakingly explained the beauty, intelligence and importance of sharks, Roth would rather that we love these animals simply because he does.
  22. Queenpins
    Queenpins might have been a snappy little comedy had it lost 20 minutes and found a point beyond glorifying grand larceny. Erasing the lead character’s smug-perky narration wouldn’t have hurt, either.
  23. Escape from Mogadishu
    With little interest in elucidating the conflict at hand, much less in distinguishing between the various Somali parties in play, “Escape” is a wildly inadequate history lesson — it’s a silly blockbuster after all. More offensive is the film’s eagerness to whittle one nation’s traumatic episode into a setting for confectionary escapades.
  24. My Name Is Pauli Murray
    Indeed, Murray’s story is a remarkable — and extensive — one that the filmmakers stuff into an hour and a half that feels like a dull and disorganized PowerPoint lecture.
  25. The Outsider
    What’s especially peculiar about the focus on Shulan is that, in other respects, The Outsider is an ensemble piece, distributing screen time among a half a dozen people planning for the museum’s opening.
  26. Yakuza Princess
    The cynical pro forma luridness Yakuza Princess grinds out suggests that sensationalist cinema, or at least its most ostensibly mainstream iteration, is currently depleted of resources.
  27. Intrusion
    It’s an exercise in watching someone have the world’s slowest revelation.
  28. No One Gets Out Alive
    The movie has not bothered to connect its ideas.
  29. Moonfall
    This off-world adventure flirts with the transcendently goofy, but Emmerich spoils it by crosscutting to a useless narrative thread on Earth.
  30. A Mouthful of Air
    Directed by Amy Koppelman and based on her novel of the same name, A Mouthful of Air aspires to show how depression can sully even the loveliest of scenes. The scenes the movie chooses, however, play like a parody of white privilege.
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