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. Capernaum
    Capernaum, a sprawling tale wrenched from real life, goes beyond the conventions of documentary or realism into a mode of representation that doesn’t quite have a name. It’s a fairy tale and an opera, a potboiler and a news bulletin, a howl of protest and an anthem of resistance.
    • 75 Metascore
    • 70 Critic Score
    Sands of Iwo Jima
    Sands of Iwo Jima so easily could have been a great war film instead of just a good one.
  3. An Officer and a Gentleman
    Undeniably, there's an element of corniness to this. But that doesn't keep An Officer and a Gentleman from being a first-rate movie - a beautifully acted, thoroughly involving romance.
  4. It's Not Yet Dark
    Painful to watch and uncomfortably intimate at times, perhaps by design, It’s Not Yet Dark could have been very dark indeed.
  5. It's Always Fair Weather
    Howling with derision at such recognizable idiocies of TV as singing and slobbering commercials, audience-participation shows, give-away plugs for mundane products and the wise-talking agency boys, Miss Comden and Mr. Green fling some pretty sharp barbs in this bright film.
  6. The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers
    On the spectrum from heroic patriot to craven traitor, this detailed, clearly told and persuasive film, directed by Judith Ehrlich and Rick Goldsmith, is firmly on the side of heroic.
  7. Martha Marcy May Marlene
    Patrick periodically criticizes his disciples, including Martha, for failing to be open enough with him, and that is also a shortcoming of Martha Marcy May Marlene, which is a bit too coy, too clever and too diffident to believe in.
  8. José
    The film delicately depicts the hardship of being gay in a Catholic culture and the pressure for machismo in a crime-ridden country.
  9. House of Pleasures
    Throughout the film there is an abundance of sumptuously photographed flesh on view. But House of Pleasures is not an erotic stimulant so much as a slow-moving, increasingly tragic and claustrophobic operatic pageant set almost entirely in the brothel.
  10. Silicon Cowboys
    Silicon Cowboys prizes the human drama behind business events, much as in “The Social Network” or “Steve Jobs.” Those films, too, pretended that technology was the star. But they knew that people were the real story.
  11. 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.
  12. On Any Sunday
    The movie itself is anything but anticlimactic. By putting his cameras on the cycles, Brown achieves audience-participation effects with speed that amount to marvelous delirium.
  13. Leaving Home, Coming Home: A Portrait of Robert Frank
    This material covers a good deal of the same ground as the 2016 documentary on Frank, “Don’t Blink.” Both films give a strong “lion in winter” sense and are moving in their treatments of the tragedies of Frank’s life. If you’ve seen “Don’t Blink,” you may ask whether you “need” to see this. I’d say yes. “More light,” as Goethe put it.
  14. My Neighbors the Yamadas
    Mr. Takahata’s broad, cartoony family comedy whose smeary watercolor washes and Peanuts-like line drawings don’t follow Ghibli’s house style. The family’s misadventures are standard stuff, but the art is continuously inventive.
    • 75 Metascore
    • 90 Critic Score
    Flying Leathernecks
    With Mr. Wayne, Mr. Ryan and their charges in the cockpits against the crackling magnificence of Mr. Ray's battletorn sky, the picture is all it should be.
  16. Dina
    The filmmakers might have cleared up suspicions about their motivations and ethics had they worked them into the narrative.
  17. The Retrieval
    Mr. Eska’s choices are thoughtful if sometimes studied: the movie is well cast with solid performers, and if the handsome digital images look overly sharp, as if outlined in razor, he consistently makes the most of his limited resources.
  18. The Trip to Italy
    Like its predecessor, The Trip to Italy flirts with seriousness yet invariably, perhaps rightly, it always goes for the joke, the pun, the fun and the sun.
  19. Sauvage / Wild
    It’s tough to build a character study around an unconvincing character.
  20. Pacifiction
    It suggests John le Carré by way of David Lynch — a feverish and haunting but also wry and meditative rumination on power, secrecy and the color of clouds over water at sunset.
  21. My Dead Friend Zoe
    Most of the filmmaking in My Dead Friend Zoe feels workmanlike, proficient and straightforward in its storytelling — a promising feature debut for Hausmann-Stokes. The film’s best feature is its performances from a uniformly excellent cast.
  22. The Flower of My Secret
    [Almodovar’s] returns to the mordant but sympathetic comedy of his early, best work. Though the new film is not as antic as "Women on the Verge of a Nervous Breakdown," it is funny and free of the nasty undertone that has made him seem tired and tiresome lately.
  23. Recorder: The Marion Stokes Project
    “Recorder” doesn’t explore the extent to which Marion’s original project of analysis was subsumed by the compulsion to tape everything. But her taping of everything created an irreproducible archive that is enlightening and the stuff of madness.
  24. Lovely & Amazing
    Holofcener's smart, acidic comedy Lovely and Amazing zeroes in on contemporary narcissism and its fallout with a relentless, needling accuracy.
  25. Knafayim Shvurot
    The movie's sense of emotional claustrophobia is underscored by a complete lack of interest in Middle Eastern politics, or in anything outside the troubled family unit.
  26. MC5*: A True Testimonial
    The proto-punk warriors known as the MC5 left a dent that outlasts their mostly negligible record sales, and the director's curiosity is piqued by the group's sociological impact.
  27. Joy Ride
    Much more effectively terrifying than the usual overplotted, underwritten Hollywood thriller.
  28. Lambert & Stamp
    A loving, freewheeling new documentary by James D. Cooper, tells this origin story with panache and nostalgia.
  29. Stan & Ollie
    Steve Coogan and John C. Reilly deliver dynamite performances that capture the expressions and physicality of the star comedians without ever descending into caricature. They never strain for laughs but are consistently amusing.
  30. Undine
    Undine is ultimately more enigmatic than most of Petzold’s work. It is also, like its title character, eerily beautiful. While it could well serve as a high-end date movie, it’s also something more.
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