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. Humshakals
    During its 159 minutes, this movie bombards you with eager-to-please but clueless shtick.
  2. Come Back to Me
    Come Back to Me has seamier goals, employing a quasi-religious conceit to justify its shocks of gore and sexual assault. In that regard, at least, it is grotesquely predictable.
  3. Kite
    Nasty for nastiness’s sake, Kite drags to achieve its brief running time; you wonder whether the slow motion is an artistic device or a stalling tactic.
  4. Jake Squared
    Jake Squared combines the most grating tendencies of meta navel-gazing with the sexism of reality television — pushing the limit of viewer tolerance to zero.
  5. But Always
    Watching it means waiting for the other shoe to drop: anticipating the moment when this already tacky weepie will resolve itself in horrific, exploitative fashion.
  6. The Pyramid
    The answers aren’t satisfying, and The Pyramid, despite an unpretentious matinee vibe, is mostly interesting in seeing how little light can be on screen before a bare minimum of suspense and coherence dissipates. There is, truly, not much to see in this movie.
  7. Playing It Cool
    Proceeding with a strained quirkiness that infects much more than the names of its main characters, this first feature by Justin Reardon is a paean to the kind of narcissism that sucks the air out of every scene.
  8. Brush with Danger
    Although the characters repeatedly express their worship of “original art” in gilded frames, the script consists of singularly unoriginal dialogue.
  9. Wolves
    Silly beyond words, Wolves is indifferently acted and unconvincingly realized.
  10. Reach Me
    [A] preposterous ensemble piece.
  11. Taken 3
    Mr. Megaton’s direction of action sequences borders on atrocious. Ragged camerawork and editing ruin freeway car chases and hand-to-hand combat alike.
  12. Hitman: Agent 47
    Dumb as dirt and just as generic, Hitman: Agent 47 trades brains for bullets and characters for windup toys.
  13. The Last Witch Hunter
    A smorgasbord of empty calories, the Vin Diesel vehicle The Last Witch Hunter, for all its overstuffed visuals, leaves you hungry. But not for more.
  14. Little Boy
    The steady performances of Tom Wilkinson, playing a kindly priest, and Emily Watson, an angelic mother, in Alejandro Monteverde’s Little Boy do little to offset the cloying sweetness of a movie that has the haranguing inspirational tone of a marathon Sunday-school lesson.
  15. Kill Me Three Times
    It’s of course unfair to blame Quentin Tarantino for all the terrible movies he has inspired, but enough already!
  16. Americons
    Mr. Avgerinos’s glossy, overripe take on high-flying, unscrupulous lenders — the wolves of Main Street — deteriorates into a hot mess of montages, trailer-ready one-liners and thudding drama.
  17. Nightlight
    A spare trifle carried largely by its leading actress.
  18. The Face of an Angel
    Rambling, frustrating and wholly uninvolving, The Face of an Angel (based on Barbie Latza Nadeau’s nonfiction account of the murder) swarms with ideas that have no place to land.
  19. Shut In
    In this achingly inept thriller, you will see Naomi Watts do what she can to sell a plot of such preposterousness that the derisory laughter around me began barely 20 minutes in.
  20. Just Before I Go
    Just Before I Go, the directorial debut of Courteney Cox, lurches along a wobbly line between salacious comic nastiness and nauseating sentimentality. The two strains are so poorly integrated that the screenplay (by David Flebotte) feels like pieces from two different projects mashed together with little oversight.
  21. Fifty Shades Darker
    A professional with real credits, so I assume that [Mr. Foley's] not finally responsible for the ineptitude of Fifty Shades Darker, which ranges from continuity issues to unsurprisingly risible writing. There are also abrupt swings in tone, dead-end detours and flatline performances, including from Ms. Johnson.
  22. Fifty Shades Freed
    As popular as this window-fogging franchise has become, its flaccid finale is likely critic proof. But if I can persuade just one of you to bypass its milquetoast masochism and watch the stratospherically superior “9 1/2 Weeks” instead, then I will have done my job.
  23. My Big Fat Greek Wedding 2
    The comedy is forced, the drama nonexistent and the actors melt into a yapping clan that seems to go everywhere en masse — a gesticulating blob of upraised shoulders and upturned palms.
  24. Dark Awakening
    Overabundant diffuse lighting and wide-angle perspectives only compound this horror movie’s deficiencies in plot and dialogue.
  25. Daddy's Home
    Daddy’s Home is an ugly psychological cockfight posing as a family-friendly comedy. Laugh-free — except for some farcical, life-threatening stunts at the expense of Will Ferrell’s character, Brad — it is best avoided unless a movie that has the attitude and mind-set of a schoolyard bully happens to be your thing.
  26. 90 Minutes in Heaven
    Rendering a miraculous premise dull, the film seems relatively uninterested in doing more than preaching to the choir.
  27. Underworld: Blood Wars
    This film is so heavy with exposition that you would think that the director, Anna Foerster, and the screenwriter, Cory Goodman, had set out to complete a dissertation instead of a sequel.
  28. Fathers and Daughters
    The spectacle of actors of the quality of Russell Crowe, Aaron Paul, Janet McTeer, Octavia Spencer and Jane Fonda earnestly struggling to wring eye moisture from hammy, flat-footed dialogue (credited to Brad Desch, an unknown), while maintaining some dignity, is depressing proof that an actor is only as good as his or her material.
  29. The Book of Henry
    A weepie, a thriller, a tragedy, a sub-Spielbergian pastiche, The Book of Henry is mostly a tedious mess.
  30. Ratchet & Clank
    It has little story to tell and few ideas to offer. Just a great deal of product to sell.
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