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 Apology
    A play-like trudge through seesawing power dynamics, bursts of violence, perpetual gloom and a ludicrously attenuated finale, The Apology could have doubled its tension by halving its running time.
  2. They All Laughed
    It's aggressive in its ineptitude. It grates on the nerves like a 78 rpm record played at 33 rpm.
  3. Chained Heat
    The combination of the graphic if meaningless title, Miss Blair and the incomparably funny Miss Stevens is almost irresistible. I should have resisted more. [05 Jun 1983, p.19]
    • The New York Times
  4. Maybe I Do
    A romantic comedy starring Diane Keaton, Richard Gere, Susan Sarandon and William H. Macy would kill as a Nancy Meyers movie. Unfortunately, the rom-com Maybe I Do was written and directed by the television veteran Michael Jacobs.
  5. Life Upside Down
    It’s a shallow look at shallow people.
  6. Boston Strangler
    Washed in an unappetizing sludge of grayish green, the movie aims for serious and settles on bilious. The real McLaughlin was a fascinating, pioneering newshound; you’re unlikely to find her here.
  7. In from the Side
    Though Carter is competent at making the chaos of a rainy match or the ecstasy of a clandestine tryst watchable, his characters feel like sketches with barely any idiosyncrasies. What’s the point of watching the game if you don’t care about the players?
  8. The Wandering Earth II
    Losing all of the glee of its predecessor, the movie instead offers nearly three hours of convoluted story lines, undercooked themes and a tangle of confused, glaringly state-approved political subtext.
  9. The Locksmith
    Most of the movie is told with big, rudimentary handwriting and slathered in clichés.
  10. Body Parts
    Ironically, the film mirrors the callow cinematic dynamics it critiques: It titillates, even as it scolds.
  11. White Men Can't Jump
    This version has little quirk and less spark.
  12. Strays
    Over the next 90-plus minutes, the canines drop as many F-bombs as Pacino did in “Scarface.” Then there are the scatological jokes, each one more outlandish than the last, none bearing the slightest tinge of wit or joy.
  13. A Little White Lie
    Hobbled by a lack of visual oomph or verbal sparkle, A Little White Lie pokes feebly at impostor syndrome and writerly insecurity.
  14. One True Loves
    Basic storytelling components are also ignored, as if entire scenes are missing, so that One True Loves, directed by Andy Fickman, stumbles even as a piece of Hallmark sappiness.
  15. Last Night in New York
    The movie can’t help but function as an apologia for the ruling class.
  16. Unlocked
    In a cinematic landscape where the anxiety of surveillance has been sufficiently explored — with movies like “The Conversation,” “Enemy of the State” and “Kimi” — this simplistically dreary offering doesn’t crack a new code.
  17. Kandahar
    Stupefyingly sluggish.
  18. My Big Fat Greek Wedding 3
    The ancient Greeks wrote tragedy after tragedy warning against hubris. Yet, Vardalos’s flailing crowd-pleaser needs a shot of self-confidence and logic.
  19. Rebel Moon Part 1: A Child of Fire
    Boutella is a pleasingly game and lithesome heroine, but the movie around her feels curiously indifferent, a crammed, compressed delivery system for its maker’s dorm-room dreams.
  20. Lift
    Hart possesses neither the charisma of Cruise nor the charm of Redford necessary to shoulder these action movie mechanics, a failure that demonstrates what happens when character actors are told they’re movie stars.
  21. A Tourist's Guide to Love
    A rom-com that so scrupulously fulfills every cliché of the genre, it might as well have been devised by ChatGPT.
  22. The Machine
    Even when the relentlessly salty humor gets fully crass (a dog is thrown out a high window), the product is bland.
  23. Ithaka
    The documentary repeats three monotonous points: Journalists lie. Regardless, Assange is a journalist who deserves protection. Also, his family misses him a heck of a lot.
    • 30 Metascore
    • 30 Critic Score
    The Cassandra Crossing
    The plague germs rapidly mutate into something harmless, like a cold. The film never mutates: It just goes on, becoming more and more lethal.
  25. Living with Chucky
    With an influential history to mine, it’s a shame the franchise-spanning documentary Living With Chucky, written and directed by Kyra Elise Gardner, feels like hagiographic DVD featurettes meanderingly stitched together.
  26. Fool's Paradise
    There’s something grudgingly admirable about the voluble star essentially spending an entire film doing reactions. But it’s a disastrous move in a Hollywood satire that already needs to be more than a grab bag of jokes.
  27. House of Wax
    The major causes for anxiety presented by this film are in the savagery of its conception and the intolerable artlessness of its sound. It is thrown and howled at the audience as though the only purpose was to overwhelm the naturally curious patron with an excess of brutal stimuli.
  28. Hollywood Dreams & Nightmares: The Robert Englund Story
    What the directors Gary Smart and Christopher Griffiths made is a documentary in spirit. But it’s really more of an annotated oral history of Englund’s entire, extensive IMDb page — almost film by film, in chronological order, for more than two hours. It’s exhausting.
  29. Maggie Moore(s)
    Top-heavy with big names (Tina Fey, Jon Hamm) and set in a nondescript small town populated primarily by sad sacks and losers, the movie struggles to get out of second gear.
  30. Padre Pio
    LaBeouf essays a rather, let’s say, contemporary Pio. And completely sinks the picture.
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