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. On a Wing and a Prayer
    The images portray a weightless crisis, and the film’s emotional narrative feels similarly insincere, with the balance of fate seeming to sway on the placement of a well-timed prayer.
  2. White Bird
    One could argue that Forster and company calibrate their anodyne effects to make a Holocaust narrative that’s palatable for younger viewers. But what mostly resonates is a particularly lachrymose brand of show-business hedging.
  3. Violent Night
    Adding insult to bodily injury, the director, Tommy Wirkola (“The Trip,” “Dead Snow”), and the screenwriters, Pat Casey and Josh Miller, can’t even muster any decent set pieces. Instead, the movie unfurls as a tedious series of bloody deaths and witless dialogue.
  4. Along for the Ride
    Such a breezy, Instagram-friendly adaptation feels like a betrayal to Dessen’s original, neurotic protagonist, who has a more difficult journey from self-induced solitude to romance.
  5. The Devil You Know
    The soft-spoken Epps is frustratingly miscast. The editing by Geofrey Hildrew and Scott Pellet limps lifelessly along, and the direction lacks the necessary pulse for a story line with more twists than a low-budget soap opera.
  6. Trust No One: The Hunt for the Crypto King
    This sensational documentary feels bankrupt at its core.
  7. The Last Dragon
    Berry Gordy's The Last Dragon is a multimedia movie of sorts, designed for those who can't bear the monotony of only one thought or sound or activity at a time.
  8. Black Gold
    Phil Karlson's direction is clumsy. The Cine-color, in which the film is shown, is dull. And, altogether, this work from Allied Artists is as much to be pitied as panned.
    • 30 Metascore
    • 30 Critic Score
    The Boy in Blue
    The film is a witless, tedious contrivance based on the life of the Canadian rower Ned Hanlan, who lived a century ago.
  10. The Takedown
    Even the sight of the two frenemies wiping out racist goons is not enough to make up for the desperately frantic action scenes (hope you like interminable car chases), joyless jokes and hackneyed clichés.
  11. Eiffel
    One can’t help but wonder if Eiffel is merely a lame fantasy or a particularly spineless form of mythmaking, whittling down as it does one nation’s politically loaded event to the equivalent of an Eiffel Tower key chain with an inscription reading “city of love.”
  12. Winter Meeting
    Catherine Turney, who assembled this rhetoric from a novel by Ethel Vance, should be made to sit through Winter Meeting about twenty-five or thirty times—which is the number of times you are likely to feel you've sat through it when you've seen it once.
  13. Madame Web
    The only real bummer about Madame Web, the latest installment in the Spider-Man chronicles, isn’t that it’s bad, but that it never achieves memorably terrible status. The story is absurd, the dialogue snort-out-loud risible, the fights uninspired. Even so, there are glimmers of wit and competency. And then there’s its star, Dakota Johnson, who has a fascinating, seemingly natural ability to appear wholly detached from the nonsense swirling around her.
  14. Y cómo es él?
    Though Winograd questions the film’s gender biases in the conclusion, he does so unconvincingly. At a quick 95 minutes, at least the whole thing zips by, however brainlessly.
  15. The Super Mario Bros. Movie
    While the details are meticulous, the attitude is all wrong, trading the simple, unaffected charm that has served the character so well since his introduction in 1981 for a snarky and fatuous air that leans hard on winking humor and bland, hackneyed irony.
  16. Me Time
    There is a flatness that feels apparent in every shot — and not just because the movie is filmed in bright, low contrast lighting. The film’s experienced cast punches their lines in search of jokes that never materialize, leaving the comedy to nosedive.
  17. Purple Hearts
    The film wallows in contrived plots and subplots, made worse by the dearth of chemistry between the two leads.
  18. The Invitation
    Had the movie emerged as a friskier game of eat the rich, it might have had a fighting chance of survival. Instead, it’s middling, morbid pap.
    • 42 Metascore
    • 30 Critic Score
    Stereo (Tile 3B of a CAEE Educational Mosaic)
    Stereo mainly proves that you can't successfully spoof psychology merely by making it dull.
  20. Triangle of Sadness
    This, in the end, is a very bad movie, executed with enough visual polish and surface cleverness to fool the Cannes jurors, something Ostlund has done twice. Shame on them! But maybe we shouldn’t be surprised.
  21. Foxhole
    The three-part scope is ambitious, but Foxhole is a film made on a very small scale.
  22. The Son
    Despite its contemporary New York City setting, The Son seems to have appropriated a midcentury understanding of mental illness, and the emotion on display feels even more artificial than the rooftop vista erected outside the windows of Peter’s industrial-chic Manhattan loft.
  23. Steel
    A tepid vat of cinematic sludge...O'Neal will doubtless survive this latest misadventure, as he did last year's outing as a genie in "Kazaam," but only the most devoted of his admirers will want to watch him lumber through "Steel."
  24. Ninja Badass
    The result is a 103-minute vanity project I found utterly exhausting.
  25. Final Cut
    Final Cut puts its predecessor’s ingredients through an unflattering Instagram filter. The shoot’s intentional shoddiness — authentically kitschy in the original — rings false, with Hazanavicius spelling out the crew’s missteps in such a way that flattens the humor and kills the momentum.
  26. The Last Voyage of the Demeter
    The script does find time for a feeble feminist gesture — the story’s sole woman can cock a rifle — and a monologue about racism. These efforts to update the tale are about as successful as those of the sorry crew, whose fates were written over a century ago.
  27. There Are No Saints
    The director, Ulloa, tries to mask the derivative story by embellishing the violence, cutting to closeups of flesh wounds and bullet holes as a distraction from the routine plot and hardboiled dialogue — he seems to be aiming for stark and gritty, but his tough-talking assassins, crime lords and arms dealers bring the whole thing closer to unintentional camp.
  28. My Dead Dad
    The gear-grinding tedium of the movie’s taking-responsibility scenario is occasionally broken up by not-quite-lyrical sequences of Los Angeles sunsets seen from car windows.
  29. The Walk
    The topic is, of course, timely. (When is racism not?) Yet The Walk feels dated.
  30. Cop Secret
    Familiarity might be the point, but a screenplay this coarse leaves the actors little wiggle room, reducing them to mouthpieces for recycled jokes.
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