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. Spaceman
    Spaceman is neither particularly astute about human nature nor discernibly interested in the politics embedded in it, and it is not even meme-ably bad, which is a shame. So much wasted potential.
  2. The Strangers: Chapter 1
    The hapless script — written by Alan R. Cohen and Alan Freedland and based on the original — offers nothing fresh in a tiring 91 minutes, and nothing daring to justify a new “Strangers” film, let alone a new series, especially when Bertino’s formidable film is streaming on Max.
  3. The Strangers: Chapter 2
    With little furtherance of the plot beyond confusing flashbacks to a creepy childhood triad, “Chapter 2” is hackneyed and silly, relying heavily on Petsch’s sneakily resilient scream queen.
  4. Joker: Folie à Deux
    Joker: Folie à Deux is such a dour, unpleasant slog that it is hard to know why it was made or for whom.
  5. It's What's Inside
    Even the twists feel obvious and not all that interesting, more the fulfillment of plot points seeded early on rather than startling turns of fortune.
  6. Mother of the Bride
    Mother of the Bride is directed by Mark Waters (“Mean Girls”) with an apparent allergy to verisimilitude.
  7. The Union
    The gimmick is that The Union, in addition to being an action film, is also a sort of comedy of remarriage for Roxanne and Mike, except that the screenwriters, Joe Barton and David Guggenheim, haven’t brought much in the way of levity to the relationship. Nor have they applied much ingenuity to the big set pieces.
  8. Incoming
    Its story of high school freshmen navigating a libertine house party follows exactly the trajectory you would expect, with few laughs and even fewer surprises.
  9. Lonely Planet
    For this to work, the relationship needs a certain element of inevitability and comfort. Theirs is stilted.
  10. Meet Me Next Christmas
    In recent years Netflix has become a factory for B-rate Christmas movies, with the occasional cheap comfort to be found in its manufactured holiday romances. This bizarre concoction, not so much.
  11. Uglies
    McG has concocted a fantastical, glossily repellent digital landscape that glows with neon and constant fireworks, causing the film to feel at once too sincere and too artificial.
  12. Michael
    Here, what we are left with is a string of musical set pieces, like a greatest hits album, performed ably by the stars — in his debut role, Jaafar Jackson dances like he is possessed by his uncle’s talent — but strung together in repetitive false-note ways that are insulting both to audience and subject.
    • 59 Metascore
    • 30 Critic Score
    Finian's Rainbow
    The cast is full of children who act as artificially and insincerely as the whole enterprise, directed by Francis Ford Coppola, would suggest.
  14. Becoming King
    Becoming King exhibits the kind of self-importance that ultimately diminishes the subject, be it Dr. King or Oyelowo.
    • 41 Metascore
    • 30 Critic Score
    He Knows You're Alone
    He Knows You're Alone is the latest in a ghouls' parade of cheaply made horror movies by young and unknown film makers. It is the first theatrical film for the 30-year-old director, Armand Mastroianni, who is said to be a cousin of the film star, and it shows in uncertain pacing, halting performances and innumerable technical flaws. [26 Sep 1980, p.6]
    • The New York Times
  16. The Super Mario Galaxy Movie
    There’s a flat empty nothingness to The Super Mario Galaxy Movie, even more than its flat empty predecessor, and that’s a huge bummer.
    • 66 Metascore
    • 30 Critic Score
    The Boston Strangler
    THE BOSTON STRANGLER represents an incredible collapse of taste, judgment, decency, prose, insight, journalism and movie technique, and yet—through certain prurient options that it does not take—it is not quite the popular exploitation film that one might think. It is as though someone had gone out to do a serious piece of reporting and come up with 4,000 clippings from a sensationalist tabloid.
  18. Love Hurts
    At 83 minutes, Love Hurts falls somewhere between making a virtue of brevity and wheezing its way to the finish line.
  19. Savage Hunt of King Stakh
    The story it tells, of 19th-century ghosts and scoundrels in Byelorussia, is potentially of some interest. But the tale is presented in a drab and confusing fashion by film makers with only the faintest command of their craft.
  20. Car 54, Where Are You?
    Though it has a potentially funny cast, this sprawling comedy has been made in a near-total wit vacuum.
  21. Mackenna's Gold
    The structure of the movie is so loose that a narrator (Victor Jory) must be employed from time to time to explain the plot, as if it were a serial. Most surprising in a movie that obviously cost a good deal of money is the sloppy matching of exterior and studio photography with miniature work for special effects.
  22. The Tarnished Angels
    Mr. Faulkner's faded story does have some flavor of the old barnstorming tours of the early air-circus fliers, but there is precious little of it in this film, which was badly, cheaply written by George Zuckerman and is abominably played by a hand-picked cast.
  23. The Ritual
    Topping it all off is a deliberately shaky and agitated shooting and cutting style that heightens nothing. Just watch “The Exorcist” again.
  24. Flight Risk
    Where Flight Risk fails as a film is not really Gibson’s fault. He knows how to shoot action sequences. The screenplay is instead all over the place, in a way that feels tired and halfhearted.
  25. Longing
    Plausibility complaints always feel cheap, but Longing strains credulity well past the breaking point.
  26. Inheritance
    It’s underbaked and baffling to watch, with little tension or interest to pull us through.
  27. Last Breath
    Last Breath is disappointingly shallow and fatally lethargic.
  28. 1992
    The look is drab, the action is barely coherent.
  29. Shelby Oaks
    A derivative and dogged horror movie that reverts to rote with wearying regularity.
  30. The Food of the Gods
    There's very little excitement, but quite a few laughs, all provided by the dialogue contributed by Bert I. Gordon, who wrote the screenplay and then produced and directed it.
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