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 January Man
    The January Man is well titled. It's a big-budget mainstream production that, in spite of its first-rate writer, director and cast, manages to fail in just about every department.
  2. Thunder Force
    Thunder Force, the latest in a string of dismal comic collaborations between Melissa McCarthy and her husband, Ben Falcone, does nothing to improve upon its predecessors.
  3. Pink Cadillac
    It is the laziest sort of action comedy, with lumbering chase scenes, a dull-witted script and the charmless pairing of Mr. Eastwood and Bernadette Peters.
  4. Millennium
    The movie is so inept in almost every particular that even its love scenes, when a grimacing Kris Kristofferson mashes his grizzled face against an impassive Cheryl Ladd, are likely to produce giggles.
  5. Demonic
    Flat acting, risible dialogue, a witless story — sometimes when a movie hits this trifecta so completely, it engenders a feeling of disreputable pleasure. It’s bad, and you know it, and maybe the filmmakers know it too.
  6. Silo
    If Burnette’s formal instincts are suboptimal — the pervasive backlighting and underlighting keep much of the action in shadow — his dramatic instincts are worse.
  7. Eat Wheaties!
    An unfortunate, unfunny mess.
  8. The Scary of Sixty-First
    There were moments during The Scary of Sixty-First when I was convinced I was watching a botched horror-comedy. But while this witless slurry of onanism and conspiracy theories is certainly laughable, it is never, for one second, even remotely funny.
  9. Hardware
    Hardware is a sci-fi-horror film of such dopiness that it seems certain to become a cult classic somewhere. Movies that are so insistently silly often have the effect of seeming to expand the mind after midnight, which may have something to do with metabolism if not with controlled substances.
  10. Awake
    There is no getting around it: Mark Raso’s Awake is bad. But at least it’s so bad that it’s often ludicrously laughable: Netflix may well have a cult turkey on its hands.
  11. American Traitor: The Trial of Axis Sally
    This is a plodding and ultimately infuriatingly noncommittal movie.
  12. The Car
    The performances are terrible—thin and overwrought in the manner of actors trying to improvise without an idea in their heads.
    • 33 Metascore
    • 20 Critic Score
    Last Resort
    It's a kind of twisted Alice in Wonderland - without Alice, without imagination and most certainly without wonder.
  14. Some of Our Stallions
    No equine beasts adorn this queasy comedy. Too bad.
  15. Midnight in the Switchgrass
    The atmosphere is thoroughly sleazy without being distinctive, and everything about the movie — the emotionless line readings, the half-baked back stories — exudes a terse functionality.
  16. Smokey and the Bandit Part 3
    An interminable car chase punctuated by dumb stunts and even dumber dialogue, plus the well-worth-missing sight of Paul Williams in a dress.
  17. American Sausage Standoff
    What ensues when Edward and the town’s reactionaries clash cannot be properly called hilarity, and the end product of this dismal film is mostly befuddlement.
  18. Voyage of the Damned
    Movies as clumsy, tasteless and self-righteous as this are worse than merely boring. By exploiting the tragedies of real people, some wildly fictionalized, The Voyage of the Damned attempts to turn them to profit without giving them any measure of the respect that is due.
  19. The Starling
    Blatant product placement, unconvincing bird effects and awful soundtrack selections all undermine a potentially wrenching, difficult premise with utter bogusness.
  20. Damnation Alley
    The only real value of Damnation Alley is educational: This is the movie to see if you don't understand what was so wonderful about the special effects in, say, Star Wars.
  21. Distancing Socially
    It’s fine that nothing major happens in this charmless quaran-com; it is concerning, however, that neither the audience nor the actors, sitting stiffly behind their screens, are given reason to care.
  22. Pharma Bro
    Hodge is not always on Shkreli’s side, but he appears convinced he’s made a well-rounded portrait, as opposed to a dubious, bottom-feeding, bro-to-bro testimonial.
  23. Home Team
    It’s yet another comedy of indignities — sorry, make that inanities.
  24. The In Between
    This mawkish plot might be tolerable if its characters were more likable; instead, they are pretension personified.
  25. Cha Cha Real Smooth
    I didn’t believe a single second in Cha Cha Real Smooth, but the movie isn’t trying to convince you of anything. It just wants you to like it. It wants you to smile, nod in recognition, shed a tear or two and feel good about yourself for liking it. It’s an exemplar of American indie entertainment at its most canned and solipsistic.
  26. Asking for It
    Subtle as a sledgehammer and shallow as a saucer, Asking for It is painted in such broad strokes that — with just a smidgen of humor — it would pass for satire.
  27. Hell is Empty
    Forget about hell, the emptiness these filmmakers must address lies primarily in their predominantly female cast of characters.
  28. Playing in the FM Band: The Steve Post Story
    The documentary posits him as a pioneer but struggles to pin down how he was unique.
  29. Memory
    It plays as if the worst episodes of “Law and Order: Special Victims Unit” have all been processed in a blender and then stretched to nearly two hours long.
  30. Black Site
    Perhaps the most depressing thing about Sophia Banks’s Black Site — a dreary, underwritten thriller — is an ending that suggests a sequel might already be in the works. For the sake of its beleaguered star, Michelle Monaghan, I can only hope not.
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