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. Rebel Ridge
    Sticking within the bounds of reality does make for a heck of a good slow-speed car chase. Those craving flashier, bullet-spraying butt-kickery will have to hope for a more gonzo sequel.
  2. The Cranes Are Flying
    Thanks to Mr. Kalatozov's direction and the excellent performance Tatyana Samoilova gives as the girl, one absorbs a tremendous feeling of sympathy from this film—a feeling that has no awareness of geographical or political bounds.
  3. Cartel Land
    Mr. Heineman has said that he wanted Cartel Land to feel like a narrative film as much as possible, and to an extent it does. What’s missing is a directorial point of view, including about vigilante groups, the so-called war on drugs, and Mexican and American policies and politics.
  4. Heat
    Its sensational looks pale beside storytelling weaknesses that expose the more soulless aspects of this cat-and-mouse crime tale.
  5. Soul Power
    Soul Power, as aptly and succinctly titled a movie as I have ever seen, takes you to a place where the discipline that produces great popular art is indistinguishable from the ecstasy that art creates.
  6. We Grown Now
    Some of this is effective, even if too many of Baig’s filmmaking choices — the honeyed cinematography, the score’s agitated violins and Malik’s preternaturally knowing voice-over — finally overwhelm the story’s fragile lyrical realism.
  7. An Honest Liar
    Directors Justin Weinstein and Tyler Measom have produced a jaunty, jovial portrait with a surprising sting in its tail.
    • 76 Metascore
    • 80 Critic Score
    Shotgun Stories
    The film is a here-and-now American potboiler and a stripped-down parable that can be appreciated by any culture.
  9. The Meaning of Hitler
    The Meaning of Hitler takes a multifaceted, often counterintuitive approach to examining the underpinnings of fascism.
  10. The Price of Everything
    While this colorful and inquisitive cinematic essay on the state of the art world is occasionally skeptical and consistently thoughtful, cynicism isn’t really on its agenda.
  11. What's Love Got to Do with It
    The brilliant, mercurial portrayal of Ike Turner by Laurence Fishburne, formerly known as Larry, is what elevates What's Love Got to Do With It beyond the realm of run-of-the-mill biography.
  12. Calibre
    The character dynamics are recognizable in the way they hew to genre conventions. But the details provided in the writing, and by the two leads’ performances, add distinctive details and dimension here. This makes the film’s harrowing action all the more believable.
  13. Anita O'Day: The Life of a Jazz Singer
    How was this careless, self-destructive human rhythm machine able to outlast almost all her peers? Maybe the vitality of the jazz she made kept her alive. She was one tough lady.
  14. Soul Kitchen
    Its insistent zaniness makes Soul Kitchen very different in spirit from Mr. Akin's two previous films, "Head-On" and "The Edge of Heaven," which established him as a major European filmmaker. Seriously silly, it evokes the same high-spirited, pan-European multiculturalism in which people of all ages and backgrounds blithely traverse national borders as they aggressively pursue their destinies.
  15. Hail Satan?
    Wry and illuminating.
  16. After the Thin Man
    In a changing age it is completely heartening to discover that the Charles family-Nick, the amateur sleuth, Nora, his understanding but frequently underfoot wife, and Asta, the hydrant fancier—has weathered successfully the well-known vicissitudes of time.
  17. Amrum
    To Akin’s credit, the film isn’t tastelessly sentimental (see “Jojo Rabbit”), and it depicts Nanning’s awakening with the kind of subtlety and restraint that suggests his moral education will continue evolving after the end of the movie.
  18. The Whistlers
    It is Porumboiu’s most elaborate feature and in some ways his least ambitious. Like a meringue or like a whistle, its substance is mostly air.
  19. The Dog
    The Dog is, as its title suggests, a documentary portrait, but it’s also an exploration of that sometimes messy thing called identity.
  20. The Pez Outlaw
    Like Pez, the film is charming and colorful — and perhaps too sweet.
  21. Julie Keeps Quiet
    It’s a film that maintains that Julie’s story is available only when she’s ready to tell it.
  22. Zola
    There is plenty of drama, and some hard feelings . . . but not a lot of intrigue or honest emotion. I guess if that’s what you’re after, it’s best to stick to Twitter.
  23. We Steal Secrets: The Story of WikiLeaks
    For all its faults, “We Steal Secrets” reminds us that despite the potential of WikiLeaks, its project of truth and consequences remains treacherous and complicated in practice.
  24. Talk to Me
    By choosing simplicity over specifics, the filmmakers free themselves from the weight of words and open up space for a mood of intense disquiet and unusual sensitivity.
  25. Cinévardaphoto
    The unutterably charming Cinévardaphoto brings together three short works by the filmmaker Agnès Varda, one shot in digital video, the others on celluloid.
  26. Ghostbox Cowboy
    Ghostbox Cowboy feels like a William Gibson adaptation directed by David Lynch and Jean-Luc Godard — while not directly lifting from or nodding to those artists. It’s rare that a release so late in the year is so noteworthy, but this is a genuine find.
  27. Midnight Special
    The charm and audacity of this film lie in the way it blends the commonplace and the bizarre.
  28. Occupied City
    Time is stretched differently in Occupied City and passes far more quickly than you might imagine, despite the running time. Some of this has to do with the fluidity of McQueen’s filmmaking and how the disparate parts build power cumulatively. Much of this, though, has to do with how McQueen approaches the past.
  29. The Unforeseen
    There’s nothing wrong with Mr. Redford and his love of nature. But there’s something irritatingly softheaded about the generic, nostalgia-tinged blandishments that the film finally resorts to -- a Wendell Berry poem, a grizzled old farmer wielding a sickle -- in place of truly hard questions and solutions that may effect meaningful change. With the polar ice caps melting, I want more than poetry and blame. I want a plan.
  30. Spa Night
    The film is a contemplation of the loneliness, tension and anxiety of outsiders pursuing a piece of the American dream.
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