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. Gang Related
    Gang Related is a preposterously overplotted tale of two police detectives with moral compasses so defective that they have buried their brains and consciences along with 10 of their murder victims long before the film even begins.
  2. The Lost Girls
    Those poor viewers willing to take on this Freudian tale and its dialogue rivaling “The Room” must brave a ludicrous slog for crumbs.
  3. Beast
    It has a few scattered laughs, some apparently intentional. But this is thin, unimaginative hack work, and it lacks the deranged seriousness and commitment that distinguishes a pleasurable misfire from bland dreck like this. It is, I am sorry to say, no “Gods of Egypt.”
  4. Black Sheep
    The two-minute trailer for Black Sheep is so crammed with pratfalls that it appears funny. But a full hour and a half leaves this comedy looking one-note and virtually laugh-free...This may sound like a John Belushi role, but Mr. Farley has little of Mr. Belushi's gift for sneaky, subversive mischief. He spends his time here just getting his thumbs caught in a car's hood, being dragged on his stomach until sparks fly, etc. Almost all the film's jokes involve physical pain.
  5. Celtic Pride
    Celtic Pride has ingredients that could have made for a tough knockabout farce. Unfortunately, the film, directed by Tom De Cerchio from a screenplay by Judd Apatow, doesn't know the meaning of the term "light touch.
  6. Slumberland
    Overall this remarkably glum, logy, convoluted and unengaging movie has only a vestigial relation to McCay’s work. McCay fans should beware. So should everyone else.
  7. Matriarch
    Matriarch opens by watching a nude figure descend into a pond of black muck, but the slog that follows in this derivative, tar-flow-paced thriller from Britain is strictly for the viewer.
  8. The Garfield Movie
    It’s a Garfield movie that strangely doesn’t feel as if Garfield as we know him is really there at all.
  9. Trespass
    With the exception of a running gag about the gangsters' use of cellular telephones, the film is singularly humorless. Though full of the kind of simulated violence achieved by special-effects artists, it's not too heavy on suspense. Everything in the screenplay seems arbitrary, including the firefighting jobs assigned to the two would-be treasure-seekers.
  10. Falling for Christmas
    If this is the standard we’re dealing with, I’d rather have amnesia.
  11. Christmas with You
    Weather seems to exert an only intermittent influence in this insipid holiday love story, directed by Gabriela Tagliavini and set in the run-up to Christmas — at least in theory.
  12. Winnie-the-Pooh: Blood and Honey
    It’s not funny enough to have anything clever to say about its gag, and it’s not exciting enough to be a competent horror movie.
  13. Dog Gone
    Even viewers with a tolerance for this kind of saccharine cinema — oversaturated green grass, slow-motion sprinting, kindly biker gangs, and a fleeting bar squabble in which the nastiest insult is “Idiot!” — will likely say their favorite part is the end credits.
  14. The Old Way
    While it’s true that a certain tepid aspect is common to most B westerns, those of the ’30s and ’40s were made with a baseline competence that The Old Way is woefully lacking.
  15. Back to Black
    That a movie messes with the historical record a little doesn’t automatically make it bad. But in Back to Black the omissions feel downright weird, as if something is being ignored.
  16. Space Oddity
    Serious subject matter aside, the movie is as bogus as Alex’s prospects of being an astronaut.
  17. Extraction 2
    Burdened by its bluster, Extraction 2 is merely a loud, blithering mess masquerading as fulfilling escapism.
  18. Mafia Mamma
    Trite, charmless and entirely without grace, Mafia Mamma weaves a wearying string of Mob chestnuts into a shallow empowerment narrative.
  19. The Last Kingdom: Seven Kings Must Die
    The compositions lack clarity, the score of undulating voices is comically clichéd and the visual effects are a dingy, nauseating mess. There are no stakes in a film that not only takes seven royal lives — it snatches several brain cells with them.
  20. AfrAId
    This scenario’s predictability could be forgiven were the movie effective on any level, but it just isn’t, from Cho and Waterston’s wooden performances to jump scares that would not startle Scooby-Doo.
  21. Next Goal Wins
    Bland photography and perfunctory writing are the very least of my issues with Next Goal Wins, a movie-shaped stain on the class of entertainment known as the sports-underdog comedy.
  22. Argylle
    It is ostensibly a tribute to spy movies of an earlier age, not clever enough to be a spoof and certainly not satire. But a homage shows affection for, understanding of and respect toward the thing it is honoring. Argylle feels pasted together by a robot manipulating some kind of spy Magnetic Poetry.
  23. Marmalade
    In essence, Marmalade pretends to be more dunderheaded than it is, then acts as if it’s been smart all along, in a shift that takes it from insulting to incoherent.
  24. Code 8: Part II
    In the end, even genre fans with relaxed standards might try to similarly rebel against this insipid offering.
  25. Red One
    It’s all a particularly egregious piece of commercial slop — just a little too expensive and passable to qualify for being so bad it’s sort of fun.
  26. J.D.'s Revenge
    J.D.'s Revenge crosses the line from a stupid movie to a potentially harmful one.
  27. The Electric State
    Whereas the book is elliptical in narrative, muted in color palette and melancholy in mood, the movie is obvious, garish and just plain dumb.
  28. Stealing Pulp Fiction
    Turkiewicz apes Tarantino’s great film by giving chapter titles to its sections and setting multiple scenes in a diner. These sequences don’t resemble “Pulp Fiction” so much as they do television ads for Chili’s — a locale where you’ll have a better time than watching this utterly misbegotten movie.
  29. Hurry Up Tomorrow
    Underneath the blinding lights, the Weeknd has always told us, is a hollow core. In that regard, the movie has mirrored the music.
  30. The Martial Artist
    Though Pakistan is filmed with a sense of grandeur, Ibby’s return to his cultural roots is rushed and superficial. Khan’s lack of screen presence, toothless mixed martial arts sequences and unintelligible editing further knock the film down.
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