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. Kidnapped: The Abduction of Edgardo Mortara
    One gets the sense that the director, in not wanting to rob the adult Edgardo (Leonardo Maltese) of his agency, even if it was woefully compromised, resorts to a horror-inflected score and overdramatic scenes of parental anguish to make clear the devastating consequences of a child separated from his family. The heightened drama seems hardly necessary.
  2. Frozen
    Frozen, for all its innovations, is not fundamentally revolutionary. Its animated characters are the same familiar, blank-faced, big-eyed storybook figures. But they are a little more psychologically complex than their Disney forerunners.
    • 75 Metascore
    • 90 Critic Score
    They Died with Their Boots On
    Dismiss factual inaccuracies liberally sprinkled throughout the film's more than two-hour length and you have an adventure tale of frontier days which for sheer scope, if not dramatic impact, it would be hard to equal.
  4. What Ever Happened to Baby Jane?
    The feeble attempts that Mr. Aldrich has made to suggest the irony of two once idolized and wealthy females living in such depravity and the pathos of their deep-seated envy having brought them to this, wash out very quickly under the flood of sheer grotesquerie. There is nothing particularly moving or significant about these two.
  5. Hatching
    A sometimes uneasy merger of monster movie and psychological horror — with a dollop of social-media satire — this inventive first feature mines tween confusion (there are nods to both bulimia and menstruation) for grotesque fun.
  6. Solas
    Galiana's quietly monumental performance is one for the ages.
  7. Shot in the Heart
    The director, Agnieszka Holland, and the screenwriter, Frank Pugliese, have created a scenario that unflinchingly captures the feverish and desperate intensity of Mikal's quest.
  8. On the Run
    There are some scenes that display impressive technical cunning, and others that show an astute regard for the emotional capacities of his able cast, but On the Run amounts to a sullen display of skill in a dubious cause.
  9. S21: The Khmer Rouge Death Machine
    Mr. Rithy Panh makes telling use of a survivor whose ability to communicate lends itself to the subject. The tragedy is that Mr. Vann Nath's powers are used to illuminate these horrors.
  10. Bitter Money
    It’s not clear that the director quite found what he was looking for.
  11. Hala
    If Baig’s writing is at times thin and excessively pointed — like a classroom discussion about what it means to live an authentic life — her grasp of mood is spot on.
  12. The Longest Day
    It is hard to think of a picture, aimed and constructed as this one was, doing any more or any better or leaving one feeling any more exposed to the horror of war than this one does.
  13. Diamantino
    There are moments in which this film, written and directed by Gabriel Abrantes and Daniel Schmidt, feels like an early Adam Sandler comedy remixed by Pier Paolo Pasolini.
  14. True History of the Kelly Gang
    Grant and Kurzel’s conceptions of the characters are so one-dimensional they seem to defeat the movie’s talented cast.
  15. Life, Animated
    Belaboring the cartoon connection, the director leaves the family struggles that enrich Mr. Suskind’s 2014 book of the same title stubbornly veiled.
  16. Waitress
    Part feminist fable, part romantic fairy tale, it is by turns tart and sweet, charming and tough, rather like its heroine and like Keri Russell, the plucky, pretty, nimble actress who plays her.
    • 75 Metascore
    • 90 Critic Score
    Who's Afraid of Virginia Woolf?
    In its forthright dealing with the play, this becomes one of the most scathingly honest American films ever made.
  18. Auction
    Bonitzer evinces an appreciable warmth toward his creations that you feel even from the analytic distance he establishes.
  19. Prodigal Sons
    A tale of two siblings -- one basking in memories, the other fleeing them -- Prodigal Sons grapples with identity through the prism of sibling rivalry. In the end its conclusions have little to do with gender and everything to do with acceptance.
  20. The Skeleton Twins
    The Skeleton Twins is a well-written and acted movie about contemporary life that doesn’t strain for melodrama and is largely devoid of weepy soap opera theatrics. A small, precise, character-driven vignette, it has no pretensions to make any kind of grand statement about The Way We Live Now.
  21. Mandibles
    Mandibles is sweet, simple, and oh-so-very stupid — a stupidity that’s oddly liberating, like making up ridiculous scenarios with a pal over bong hits.
  22. Oklahoma City
    Oklahoma City suggests that conspiracy theories today have consequences for tomorrow — a message with terrifying implications in an age of fake news.
    • 74 Metascore
    • 80 Critic Score
    Rachel, Rachel
    Rachel, Rachel...is a real Movie movie, a little sappy at moments, but the best written, most seriously acted American movie in a long time.
  24. The Monk and the Gun
    However sincere and justified, the digs are so innocuous that their main purpose seems to flatter Western viewers who will nod along as they coo at the landscapes and chuckle knowingly about ugly truths they think have nothing to do with them, but do.
  25. Terribly Happy
    Not a horror movie but a witty, expertly constructed psychological thriller.
  26. Marina Abramovic: The Artist Is Present
    Like many other recent documentaries about artists, it is more celebratory than analytical, a kind of slick, extended promotional video for its subject.
  27. The Bridesmaid
    Deceptively understated and finally ferocious.
  28. They Cloned Tyrone
    Even when the dialogue runs long and the film’s frights offer less terror than you’d want in a sci-fi-mystery flick, an inspired Foxx, a subversive Parris, and a ruthless yet melancholic Boyega, who shoulders the bulk of the dramatic weight, retrofit common stereotypes of urban Black life into the rich, dynamic humanism of its reality.
  29. Rise
    It’s not simply a movie about how Giannis became one of the most dominant players in the league. It’s about why Giannis is so lovable.
  30. Natural Born Killers
    Natural Born Killers never digs deep enough. Mr. Stone's vision is impassioned, alarming, visually inventive, characteristically overpowering. But it's no match for the awful truth.
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