The New York Times' Scores

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For 20,312 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: 9,400 out of 20312
  2. Mixed: 8,446 out of 20312
  3. Negative: 2,466 out of 20312
20312 movie reviews
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  1. The Endless
    The Endless rewards patience with mind-bending twists and turns.
  2. Heavy Metal
    For anyone who doesn't think an hour and a half is a long time to spend with a comic book, Heavy Metal is impressive. Though it owes some slight bit of its toughness and nihilism to Ralph Bakshi, this animated feature is off on its own track, combining science fiction, mysticism, sex, violence and rock music. Much of the time, these elements do what the film makers want them to, and make for a heady mix.
  3. Unfriended: Dark Web
    What’s striking in this movie, apart from an ostentatiously glitchy screen distortion that occurs whenever a denizen of the “dark web” appears on one of the screens within screens, is how credibly its extreme trolling plays.
  4. Us and Them
    With frothing energy and unfettered vulgarity, Us and Them lances the boil of working-class grievance and watches as the infection spreads to everyone in its path.
  5. The Guardians
    The Guardians is a historical drama that doesn’t lose itself in decorative period detail, a beautifully photographed chronicle of rural existence that refrains from picturesque sentimentality and grinding misery, the usual modes for this kind of film.
  6. 12 Days
    [A] lucid, focused and adamant documentary.
  7. Maineland
    Maineland takes up a large and complicated set of topics — the global economy, the shifting relations between East and West, the commodification of American education — and addresses them with understated delicacy.
  8. Fast Color
    Moody and strange, Fast Color has a solemnity that haunts almost every frame.
  9. Jinn
    Jinn may end a little too neatly after challenging so many of the conventions of its genre, but it’s easy enough to look past.
  10. Wild Nights with Emily
    This is an irreverent film, but its lightness is meaningful. With each silly flourish, Olnek offers joy and companionship to a figure whose history was more conveniently presented to generations of readers as solitary.
  11. Summer in the Forest
    Summer in the Forest is an extraordinarily tender documentary that asks what it means to be human. Here, even the most gentle scenes raise mighty questions.
  12. Three Days of the Condor
    Fast, vivd espionage-betrayal thriller, dandy plot. [24 Sep 1975]
    • The New York Times
  13. The Dogs of War
    It demonstrates the kind of intelligence and thought one doesn't often find in a movie aimed at the action-adventure crowd. This is evident as much in what the film doesn't do and say as in what is actually seen on the screen.
  14. Duck Butter
    [Ms. Shawkat] and Mr. Arteta, a sensitive observer of life’s everyday churn (his credits include “Beatriz at Dinner”), do some lovely work in a movie that reminds you that sometimes all you need in realist fiction is a glimpse into another person’s being — but with heart and intelligence, good craft and technique.
  15. Re-Animator
    Re-Animator has a fast pace and a good deal of grisly vitality. It even has a sense of humor, albeit one that would be lost on 99.9 percent of any ordinary moviegoing crowd...All of this, ingenious as it may be and much as it will redound to Mr. Gordon's credit in hard-core horror circles, is absolutely to be avoided by anyone not in the mood for a major bloodbath.
  16. Revenge
    Revenge leaves a lurid, punchy afterimage, an impression somewhere between righteous delight and quivering revulsion. It’s both a challenge and a calling card, in which Ms. Fargeat at once exposes what’s wrong with her chosen genre and demonstrates her mastery of it.
  17. Fighting with My Family
    Like its amiable, irresistible ménage, Fighting With My Family softens its rougher edges with humor. It’s often broadly funny but never mean or patronizing; it takes the Knights, their eccentricities and quixotic aspirations seriously, but not enough to squelch the fun.
  18. Salomé
    The concentration of the performers and the power of Wilde’s unusually baroque, even for him, language (he originally composed the play in French, as it happens) makes for some mesmerizing scenes.
  19. Big Fish & Begonia
    Never short on visual or emotional wonder, Big Fish & Begonia contemplates mortality with the imagination of an old soul who has been given new eyes.
  20. Good Luck
    Both halves feature breathtaking camera work.
  21. My Beautiful Laundrette
    My Beautiful Laundrette has the broad scope and the easy pace that one associates with our best theatrical films. It puts its own truth above the fear of possibly offending someone. Without showing off, it has courage as well as artistry. A fascinating, eccentric, very personal movie.
  22. This Is Our Land
    The drama is well-paced, and all of the actors are wonderful. Mr. Dussollier, a regular presence in the late works of Alain Resnais, is resourceful in communicating Berthier’s disturbing dual nature, and Ms. Dequenne remains appealing even when her character is making the most grievously ill-advised choices.
  23. Sammy and Rosie Get Laid
    Mr. Frears and Mr. Kureishi have composed Sammy and Rosie as if they were building a giant bonfire in a mock celebration of the achievements of contemporary British society and, by extension, of the civilized world. They throw everything on -love, death, sex, politics, violence. A lot of stuff doesn't easily burn, but there's also plenty that does.
  24. The Jerk
    By turns funny, vulgar and backhandedly clever, never more so than when it aspires to absolute stupidity. And Mr. Martin, who began his career with an arrow stuck through his head, has since developed a real genius for playing dumb.
  25. Red Rock West
    The director and co-writer, John Dahl, keeps up perfect swift timing throughout the film, playfully loading on every suspense-genre trick he can imagine.
  26. 10
    Blake Edwards's frequently hilarious new film, “10,” is the story of George's desperate efforts to come to terms with life in Southern California even though he knows he's inadequate.
  27. The Wife
    The Wife pulls off the not inconsiderable feat of spinning a fundamentally literary premise into an intelligent screen drama that unfolds with real juice and suspense.
  28. Kids
    Mr. Clark's vision of these characters is so bleak and legitimately shocking that it makes almost any other portrait of American adolescence look like the picture of Dorian Gray...Kids is far too serious to be tarred as exploitation, and its extremism is both artful and devastatingly effective. Think of this not as cinema verite but as a new strain of post-apocalyptic science fiction, using hyperbole to magnify a kernel of terrible, undeniable truth.
  29. Cold Water (1994)
    Mr. Assayas's screenplay is loose and uneventful, but his direction has more energy.
  30. Picnic at Hanging Rock
    The result is a movie that is both spooky and sexy.
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