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. Rabbit Test
    Miss Rivers's jokes mostly have to do with racial stereotypes and the essential revoltingness of pregnancy, but a few of them are funny just the same. However, as a director, Miss Rivers is forever sandbagging her own scenes, throwing away a good chuckle in a sequence that desperately needs a punch line, or wasting something fairly subtle right after a broad, dopey joke about a urine sample.
  2. The Greatest Surf Movie in the Universe
    A spectacularly inane comedy.
  3. Riff Raff
    Harris and Murray are such reliably engaging screen presences that they provide a few glimmers of entertainment, provided you’re able to set aside the movie’s practically all-encompassing repulsiveness.
  4. The Egg and I
    The nearest this watered-down rewrite gets to the solid soil is the dirt on the farm sets constructed on a studio soundstage. And the nearest it comes to realizing any of the diary's observation and wit is in a few farcified re-creations of some of its milder episodes.
  5. Killer Heat
    The twists and pedestrian dramatics are a stiff slog to get to, and Gordon-Levitt’s once innate charisma has vanished altogether here.
  6. The Man in the White Van
    While Wolfe is an engaging screen presence, the movie is too clumsy and clichéd to conjure tension.
  7. Hippo
    Like a stubborn toddler zipping his mouth shut while stomping his feet, “Hippo” manages to be noisily aggravating while saying nothing at all.
  8. Heart Eyes
    It’s hard to discern who the film is for when it feels as if it’s been passed around genre writing classes in search of an identity.
  9. In the Lost Lands
    This lackluster script struggles to build a captivating story to match the allure of its expansive desert setting.
  10. Homestead
    Less a self-contained movie than a pilot for a show that already exists. The quality of the acting can only improve.
  11. Old Guy
    Beyond the stale plot and groaners that make up the dialogue, “Old Guy” suffers from haphazard pacing, as if every third scene was cut out in postproduction. Watching, one wonders who this movie is for — even within the target demographic stated in the title.
  12. Don't Die: The Man Who Wants to Live Forever
    This too-chummy documentary, promoted on Johnson’s website, offers the more familiar reverse sensation of having 90 minutes of your life taken from you. By the time it’s over, you will be older, a progression that if anything the movie feels like it hastens.
  13. Alarum
    Given that the finale of Michael Polish’s spies-on-the-lam thriller, Alarum, teases the unwelcome possibility of a sequel, please consider this review a mercy killing.
  14. Kinda Pregnant
    Most egregiously, the world of Kinda Pregnant is filled with dopey men and despairing women whose torments, parental or otherwise, make for a land mine of comedy duds.
  15. Mercy
    A witless, thrill-free hodgepodge of shinily packaged action-thriller clichés.
  16. The Picture of Dorian Gray
    The whole thing... makes little or no intelligible sense.
  17. The Last Time I Saw Paris
    What is to be said of such a picture? The story is trite. The motivations are thin. The writing is glossy and pedestrian. The acting is pretty much forced.
  18. Lilly
    With a cringey inspirational tone, the movie weaves in Ledbetter’s advocacy work and court case with moments from her personal life.
  19. The Parenting
    The cast is game — especially Cox, who gets to do some over-the-top Linda Blair mugging — but the script, by a “Saturday Night Live” writer, Kent Sublette, is puerile and abrasive, lacking the wit of “Evil Dead” (an obvious influence) and the brio of “Scary Movie.”
  20. Dangerous Beauty
    No amount of gorgeous costumes and painterly chiaroscuro can endow this terminally silly film with even a patina of class.
  21. The Senior
    You can simply surrender yourself to the bland moral lessons of the movie, but even then, it’s hard not to feel like this was best left as a quirky human interest segment on a slow news day.
  22. A Big Bold Beautiful Journey
    Instead of an auteur upgrading his sensibilities with a studio paycheck, “Beautiful Journey” mostly reads as a for-hire job doomed with jumbled writing.
  23. The Age of Disclosure
    Question the film and you’re a chump, it implies. But anyone who sits through its nearly two hours of unprovable claims is a chump of a different sort.
  24. This Ain't No Heartland
    In the filmmaker's nightmarish view, the heartland is a decaying citadel of ignorance, boorishness and xenophobia, smugly rotting away in the twilight of the American empire.
  25. Bride Hard
    A smorgasbord of unconvincing danger and semi-schmaltzy lessons in friendship, Bride Hard is rarely as funny as it could be.
  26. The SpongeBob Movie: Search for Squarepants
    All of its head-spinning action has a stultifying effect. At all times, the film seems afraid that it’ll lose its audience’s attention, barraging us with the mindlessly zany to hold our engagement.
  27. Goodbye Charlie
    George Axelrod's play, "Goodbye, Charlie," was bad enough on the stage. On the screen, it is a bleak conglomeration of outrageous whimsies and stupidities.
  28. Ebony & Ivory
    Ebony & Ivory, in its unrelenting aggression, is particularly exhausting, though I suppose you have to admire the integrity of its vision. Irritating as Hosking’s humor is, you can’t deny his commitment to the bit.
  29. Sarah's Oil
    A David and Goliath story with big feelings, edifying speeches and a swelling score, Sarah’s Oil is a movie that will surprise nobody. Viewers might even make out a regressive strain reinforcing the feel-good mood.
  30. Play Dirty
    Play Dirty is a misanthropic work. Which isn’t inherently a deal breaker, but a stiff Wahlberg lacks the moxie to make the brutal barrage of death amusing or worthwhile.
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