The New York Times' Scores

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For 20,271 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: 9,377 out of 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
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  1. Your Name.
    The beauty of Your Name is that, as in the best animated movies, the thin black lines of the character design invariably dissolve, and all that remains are Taki and Mitsuha, thoroughly mixed-up teenagers.
  2. Going in Style
    It’s strictly comfort food, 99 percent predictable, though the 1 percent that isn’t — you’ll know it when you see it — is deftly executed.
  3. Gifted
    What’s in a child’s best interest? It depends on who’s answering the question. That’s the crux of Gifted.
  4. i hate myself :)
    It takes an especially robust sense of self to so openly invite ridicule, rendering the film’s title somewhat less than credible.
  5. The Assignment
    Because Mr. Hill is still, in most respects, Mr. Hill, a lot of the movie is more watchable than it has a right to be. But ultimately, The Assignment ends up being ridiculous even by its own nonsensical standards.
  6. SHOT! The Psycho-Spiritual Mantra of Rock
    The movie’s approach is gratuitously grandiose.
  7. Truman
    This well-made, low-key drama, written by Mr. Gay and Tomàs Aragay, offers some insights into terminal illness.
  8. Tony Conrad: Completely in the Present
    “I want to make abstract art that’s funny, happy, energetic, joyful,” he exclaims at one point. That he did. This movie is a good introduction to it.
  9. Live Cargo
    We are largely left with the images, which take us far, if not far enough.
  10. Here Alone
    More psychodrama than postapocalyptic adventure, the movie parcels out its scares in small, effective jolts, delivering just enough menace to remind us of the stakes.
  11. God Knows Where I Am
    This documentary, coupled with Ms. Aviv’s article, addresses unresolved issues of personal autonomy versus a patient’s inability to protect herself. It will haunt you.
  12. The Death of Louis XIV
    [Mr. Léaud's] riveting, and a little alarming. As for Mr. Serra, while he often enjoys playing the foppish provocateur in his interviews, his film is sober, meticulous and entirely convincing in its depiction of period and mortality.
  13. David Lynch: The Art Life
    Mostly, the documentary is a fond portrait of how one man nurtured his artistic temperament and risked being misunderstood — sometimes by his own family.
  14. Carrie Pilby
    In 2015, Bel Powley stole Sundance with her performance in “The Diary of a Teenage Girl.” Carrie Pilby poses a tougher test. Might she single-handedly redeem 90 minutes of contrived nonsense?
  15. The Boss Baby
    The animated feature The Boss Baby has some hilarious moments. If, that is, you’re a grown-up.
  16. The Blackcoat's Daughter
    The movie is so perfectly acted and gorgeously filmed (the cinematographer is Julie Kirkwood) that we don’t mind its coyness; the twanging notes of trepidation make us almost grateful for the leisurely build.
  17. All This Panic
    All This Panic can feel glancing, its more painful revelations sliding in unheralded and slipping away just as quietly. What’s left is a dreamy diary of a time that passes so quickly yet impacts so profoundly.
  18. Ghost in the Shell
    [Mr. Sanders] likes a dark palette and is good with actors, but there’s little here that feels personal, and he mostly functions as a blockbuster traffic cop, managing all the busily moving, conspicuously pricey parts.
  19. Cézanne et Moi
    Cézanne et Moi offers a pungent, demystifying portrait of the rowdy late-19th-century Parisian art world where famous painters and poets mingled and jostled for position at dinner parties and art openings filled with shoptalk, backbiting and intrigue.
  20. The Zookeeper's Wife
    Ms. Chastain’s watchful, layered performance helps keep the film on an even keel, but it is not enough to prevent The Zookeeper’s Wife, with its reassuringly cuddly critters, from feeling like a Disney version of the Holocaust.
  21. The Discovery
    The story stays intriguing for much of the way, but eventually things cease to make sense.
  22. Karl Marx City
    Karl Marx City, Michael Tucker and Petra Epperlein’s unsettling new documentary, is a smart, highly personal addition to the growing syllabus of distressingly relevant cautionary political tales.
  23. Phillauri
    Mr. Lal, making his feature directorial debut, clearly understands the camera and special effects. But working from a script by Anvita Dutt that reaches too far in too many directions, he is undone by his own ambition.
  24. In Search of Israeli Cuisine
    When it’s not being overly promotional, it can be interesting.
  25. Dig Two Graves
    Hunter Adams’s Dig Two Graves is that rare chiller conjuring eeriness and dread without defaulting to abundant gore or flagrant nudity.
  26. American Anarchist
    A study in denial, American Anarchist may be illuminating for being unilluminating.
  27. I Called Him Morgan
    This is not a lurid true-crime tale of jealousy and drug addiction, but a delicate human drama about love, ambition and the glories of music.
  28. CHIPS
    Borderline incoherent and unrepentantly lewd, this buddy-cop comedy (based on the 1977-83 television series of the same name) substitutes cars, ’copters and motorcycles for actual characters
  29. Life
    As the astronauts contend with airlocks, busted equipment and escape pods, it becomes increasingly difficult to pretend that this isn’t territory where more inventive screenwriters...and stronger visual stylists have gone before.
  30. Saban's Power Rangers
    When the Rangers engage in “Transformers”-lite mayhem, an intriguing group portrait collapses into generic pyrotechnics.
  31. I, Olga Hepnarová
    Anchored by a startling performance by Michalina Olszanska, the Czech film “I, Olga Hepnarova” is an austere, hypnotic story of sadness, madness and murder.
  32. Prevenge
    Prevenge is a brilliantly conceived meditation on prepartum anxiety and extreme grief.
  33. Wilson
    The dark, comic poignancy of the book is drowned in garish, self-conscious whimsy, and the work of a talented ensemble is squandered on awkward heartstring snatching.
  34. A Woman, a Part
    Touching on issues of artistic survival and the porous boundary between work and pleasure, Ms. Subrin, an accomplished visual artist and filmmaker, sifts addiction, celebrity and the plight of the aging actress into something rarefied yet real.
  35. P.S. Jerusalem
    An exemplar of how to make the personal political.
  36. Atomica
    While its premise and some of its effects may be B-movie grade, Atomica — like the best B movies — delivers an unexpectedly rewarding kick.
  37. Betting on Zero
    Even without an upbeat ending, though, Betting on Zero would be persuasive advocacy.
  38. Mean Dreams
    Nathan Morlando’s Mean Dreams may use a time-honored premise — young lovers on the lam (see: “Badlands”) — but it does so with such quiet, gently appealing assurance that it makes the template seem fresh again.
  39. Actor Martinez
    Some movies about making movies (Truffaut’s “Day for Night,” for one) are charming. The self-references here, while intriguing, approach a comic navel-gaze. Actor Martinez has a saving grace, however: Ms. Burdge.
  40. Song to Song
    There is...much to admire in Song to Song and much to argue with, including its ideas about pleasure and women. So go, fall into its embrace, resist its charms, argue. This may not be a film to love, but it is a film to see.
  41. The Show About the Show
    This is an undeniably fascinating film despite, or perhaps because of, the repellent actions Mr. Zahedi depicts himself taking.
  42. T2 Trainspotting
    Playing with memory — the characters’ and our own — allows Mr. Boyle and his cinematographer, Anthony Dod Mantle, to conjure some of the movie’s loveliest, most melancholy images.
  43. Tickling Giants
    There’s a lot to laugh at, and to learn from, in Tickling Giants, a documentary that starts off by telling the story of one man and ends up speaking volumes about satire, freedom of expression and political pressure.
  44. The Devil's Candy
    To enjoy The Devil’s Candy, then, one must tolerate slapdash writing (by the director, Sean Byrne) and profoundly irritating adult behavior. Yet Mr. Byrne...somehow whips his ingredients into an improbably taut man-versus-Satan showdown.
  45. The Belko Experiment
    The Belko Experiment is a grisly, sick-making exercise in sadism that tries to camouflage its base venality in a thought-experiment plot.
  46. After the Storm
    Mr. Kore-eda, whose most noteworthy family dramas include “Still Walking” (2009) and “Like Father, Like Son” (2014), works in a quiet cinematic register, and the slightest error in tone could upend the whole enterprise. Slow-paced, sad, rueful and sometimes warmly funny, After the Storm is one of his sturdiest, and most sensitive, constructions.
  47. Frantz
    Frantz takes pains to show both sides’ lingering hostility after a devastating and (the movie implies) senseless war.
  48. Badrinath Ki Dulhania
    If “Badrinath” ends up being less about female empowerment than about schooling gents on a cardinal rule, its pop comes from Ms. Bhatt.
  49. Who's Crazy? (1966)
    The movie, shot mostly in crisp, sometimes smoky black and white, is far better, a quirky but purposeful grafting of Mack Sennett to the French New Wave. Yet it’s the soundtrack that has the staying power.
  50. Canners
    Canners is a testament to its director’s indefatigable humanism, and to the human beings who feed it. The movie follows the money, a nickel at a time, and discovers something far more valuable.
  51. Raw
    Raw, Julia Ducournau’s jangly opera of sexual and dietary awakening, is an exceptionally classy-looking movie about deeply horrifying behavior.
  52. The Ottoman Lieutenant
    The Ottoman Lieutenant is an overwrought nurse romance merged with a history lesson, a combination that is hard to take as seriously as the film wants to be taken.
  53. This Beautiful Fantastic
    Enjoyable performances keep the tale from becoming too heavy-handed.
  54. The Other Half
    Mr. Klein is well served by his actors, who exude conviction, charisma and palpable ardor.
  55. Brimstone
    The carnage pushes you away (and wears you down), even as the genre, industrious cast, beautiful landscapes and stark, often striking visuals pull you in.
  56. The Sense of an Ending
    Directed by Ritesh Batra from a screenplay by Nick Payne, The Sense of an Ending maintains intrigue and emotional magnetism as its mystery unfolds.
  57. Uncertain
    While scenes of the lake and land are magnificent, there are repulsive sights and stories, too. Whether inspiring or upsetting, all feel authentic.
  58. My Scientology Movie
    My Scientology Movie relies on a shaggy, meandering charm. At times it plays like an extended skit on “The Daily Show”; yet its disorder also makes its insights — like how strongly the church’s training sessions resemble acting classes — feel refreshingly organic.
  59. Suntan
    Replete with sometimes startling imagery...Suntan captures a set of very specific feelings: the exhilaration and embarrassment of falling, followed by the desperate denial that one has landed in a very bad place.
  60. Personal Shopper
    Personal Shopper is sleek and spooky, seductive and suspenseful. It flirts with silliness, as ghost stories do. And also with heartbreak.
  61. Kong: Skull Island
    “Skull Island” has momentum, polish and behemoths that slither and thunder. The sets and creature designs are often beautifully filigreed, but the larger picture remains murky.
  62. Beauty and the Beast
    Its classicism feels unforced and fresh. Its romance neither winks nor panders. It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn’t recognize the flavor: I think the name for it is joy.
  63. Ben-Gurion, Epilogue
    It conveys a satisfying, informative portrait of a well-read man who looks back at his life, good decisions and bad, with wisdom and intelligence.
  64. The Settlers
    While any explanation of this fraught phenomenon feels like an oversimplification, Mr. Dotan sorts out the forces and personalities that shaped the movement.
  65. Love & Taxes
    If there aren’t many big laughs here, there are enough smiles to make the time pass pleasantly enough.
  66. Junction 48
    Junction 48 is more than a mere crowd-pleaser, and it refuses easy catharsis, ending with a cliffhanger. But since this is a movie about deciding to act, maybe that’s the perfect note.
  67. The Human Surge
    Just when you think you’ve got the movie pegged, it pulls a daring switch of perspective. While the thrill of that little coup is short-lived, it suggests that Mr. Williams may come up with something more substantial with his next feature.
  68. The Last Word
    Ms. MacLaine, 82, holds the screen effortlessly. Too bad she has to share it.
  69. Apprentice
    At first Apprentice seems to be a basic revenge film in which Aiman stalks the man who killed his father. But it becomes psychologically more complex.
  70. Donald Cried
    Donald Cried is an acutely insightful, exquisitely written and acted triumph for Mr. Avedisian, who understands how the past permanently clings to us.
  71. Nakom
    A strong nonprofessional cast and a use of long takes enhance the sense of immersion in a truly organic production.
  72. The Shack
    A bit more editing to remove some of the airiness would have made for a better film.
  73. Water & Power: A California Heist
    Guided by the work of a handful of burr-like journalists, this dense and disturbing documentary dives into the regulatory quagmire of California water rights with more courage than hope.
  74. Table 19
    Table 19 is so awkwardly structured and tonally off-kilter that its moments of catharsis feel wholly unearned.
  75. Catfight
    The two leads are mesmerizing, hurling themselves into their physically demented roles with ferocious commitment.
  76. Logan
    Logan is a strong argument for bringing the comic-book movie down to earth. It solidly hits its marks as it moves the franchise furniture around, and features striking special-effects scenes in which the world shudders to a near standstill.
  77. Wolves
    The actors do nice work before things derail.
  78. Before I Fall
    Before I Fall is tactful rather than maudlin, tasteful rather than lurid, soothing rather than creepy. None of that is good news.
  79. Kiki
    Kiki shows us a group of brave and beautiful souls for whom the struggle is, unfortunately, probably about to get even harder.
  80. Contemporary Color
    Over all, this movie is less “you are there” than “you had to be there.”
  81. Les Hautes Solitudes (1974)
    The film’s silence works as a kind of invitation, encouraging you to infer meaning and jump to conclusions as one image gives way to the next.
  82. Paraguay Remembered
    This quiet movie, shot in black-and-white and color, is an unhurried, beautiful, and pained work that through simple means resonates on various levels.
  83. Bitter Harvest
    Bitter Harvest feels awkward and parochial.
  84. As You Are
    Much of the movie, from its attempts to capture the confusing exhilaration of youthful experience to its predictable progressive character dynamics, is labored.
  85. Punching Henry
    Mr. Phillips’s self-deprecating humor is amusing but not funny enough to give him the edge he needs to rise up and conquer.
  86. The Girl with All the Gifts
    The Girl With All the Gifts doesn’t really venture into new territory, but it does a decent job of reminding us why zombies are so scary, and so interesting.
  87. Dying Laughing
    As one comic after another recalls triumphs, misadventures and painful lessons learned, the stories become redundant.
  88. Get Out
    Part of what makes Get Out both exciting and genuinely unsettling is how real life keeps asserting itself, scene after scene.
  89. My Life as a Zucchini
    Mr. Barras’s film, with its bigheaded, asymmetrical modeling-clay figures and off-kilter picture-book backdrops, explores a harsh situation with gentle whimsy.
  90. Rock Dog
    The title character of Rock Dog isn’t likely to end up on anyone’s Top 5 list of animated heroes, but the film does have a thoroughly enjoyable rocker in it. And an appealingly nasty wolf, too.
  91. How Heavy This Hammer
    Whatever investigation it’s attempting, the movie is leaden in its pacing — the first 15 minutes feel like an hour — and its constricted shooting style, practically all hand-held almost close-ups, is transparent in its contrivance of realism.
  92. You're Killing Me Susana
    [Roberto Sneider's] movie is erratic, jumpy (thanks to a needlessly affected editing style) and not entirely in control of its message.
  93. Keep Quiet
    Even if you are unmoved by Mr. Szegedi’s personal story (I found him somewhat sympathetic), what Keep Quiet tells us about its larger themes is upsettingly pertinent.
  94. My Name Is Emily
    It’s a sometimes rocky road cinematically, slipping from enchanting to trite, magical to indulgent with some regularity.
  95. Lovesong
    [An] exquisite, beautifully shot meditation on love clouded by fear and doubt.
  96. In Dubious Battle
    It is too flat-footed and sloppy to explore the obvious parallels between then and now, and the movie is peppered with gratuitous star cameos that distract rather than enlighten. At least it means well.
  97. From Nowhere
    Their ordeal feels cruel, unnecessary and infuriatingly real.
  98. American Fable
    It’s a nice opening for a movie that spirals into nonsense.
  99. Fist Fight
    While I can’t exactly say that the movie cheered me up, it did give me something I needed. Not catharsis or uplift but a bracing dose of profane, sloppy, reasonably well-directed hostility. We take what we can get.
  100. Everybody Loves Somebody
    The setup is commonplace, but the scenery is delicious, the dialogue refreshingly tart and the keen supporting cast frisky or affecting, as the occasion demands.
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