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. On the Town
    Gaiety, rhythm, humor and a good, wholesome dash of light romance have been artfully blended together in this bright Technicolored comedy.
  2. 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.
  3. Buffaloed
    Simultaneously rowdy and slick, Buffaloed is exuberantly paced and entirely dependent on Deutch’s moxie and pell-mell performance.
  4. Woodstock: Three Days that Defined a Generation
    Woodstock: Three Days That Defined a Generation, directed by Barak Goodman, uses the perspective of nearly 50 years’ hindsight to demonstrate anew how the festival was both a mess and a miracle, and implicitly argues that it was a good deal more miracle than mess.
  5. Meeting Gorbachev
    But if Meeting Gorbachev finds its subject mostly staying on a pro-peace, antinuclear message — and it’s a script that’s hard to argue with — Herzog shapes the film into a study in how world events often come down to quirks of character and circumstance.
  6. House of Hummingbird
    Kim works like a pointillist with lots of short scenes and daubs of textured nuance that build the portrait incrementally.
  7. Scheme Birds
    For all the impetuousness of its subjects, this is a film of remarkable respect and restraint — a documentary that carves shape into a messy reality.
  8. Framing John DeLorean
    Framing John DeLorean doesn’t fully answer its own central question, and leaves several others hanging as well. As frustrating as this can be in hindsight, the movie, while it’s playing, is unfailingly engrossing.
  9. Seven Days in May
    The whole thing achieves a tingling speed and irresistible tension under John Frankenheimer's direction, which deftly lifts some of the tricks of pictorial and musical emphasis from the old Nazi "Blitzkrieg" films.
    • 72 Metascore
    • 80 Critic Score
    These Are the Damned
    Mr. Losey, proceeding with grim logic toward his apocalyptic climax, has made a strong comment about the nuclear age—while arrestingly demonstrating just how much a gifted filmmaker can accomplish with limited means.
  11. Another Day of Life
    It uses animation to depict a conflict in fresh dimensions.
  12. Firecrackers
    This is a movie that, like its characters, is more fluent in feelings than in words.
  13. Shéhérazade
    It’s rare that a director’s first feature film, accomplished with an ensemble of nonprofessional actors, proves to be as quietly powerful as Jean-Bernard Marlin’s simple but lyrical “Shéhérazade.”
  14. Joan of Arc
    Here and in the earlier picture it’s perhaps easy to apprehend Dumont’s approach with a “What’s this oddball up to now?” smirk. But if Dumont is joking at all, it’s a form of what used to be called “kidding on the square.”
  15. Diego Maradona
    It is exhausting and exhilarating, cheap looking and slick, a documentary for Maradona fans but also for many others besides.
  16. The Lighthouse
    Eggers meticulously sets the scene, adds texture and builds tension and mystery from men locked in battle and sometimes in embrace. He has created a story about an age-old struggle, one that is most satisfyingly expressed in this film’s own tussle between genre and its deviations.
  17. Tommaso
    Tommaso has a different feel than your average variant on Fellini’s “8 ½.” Maybe it’s a sense of shame, something the older film’s Guido hadn’t much of. Whatever it is, it makes Tommaso crackle with ideas and empathy, as Ferrara’s best work always does.
  18. Family Romance, LLC
    In many of Herzog’s nonfiction films, the director himself is a defining presence. One understands why he wanted to stay behind the camera and off the soundtrack here. This wrinkle in modern social life is best taken in without the mitigation of overt distancing.
  19. The Wandering Soap Opera
    It was clearly made with slender financial means and abundant enthusiasm, and it functions simultaneously as a critique of the self-serious idiocy of authority and a celebration of the anarchic power of imagination.
  20. Beats
    This tender, detail-filled movie lives for the moment.
  21. The Invisible Man
    Moss’s full-bore performance — anchored by her extraordinarily supple face — gives the movie its emotional stakes.
  22. John Wick: Chapter 4
    There is simply and once again Reeves, the axis who centers this franchise with his grave sincerity, beatific glow and mesmerizing, rooted fighting style, with its heavy-footed solidity and surprising suppleness. No matter what happens, nothing ever feels as poignantly at stake here as Reeves’s own ravaged, beautiful, aging body.
  23. Barbara Rubin and the Exploding NY Underground
    An informative and overdue documentary.
    • 76 Metascore
    • 80 Critic Score
    Hell Is for Heroes
    An unusually well-made film.
  25. 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.
  26. The Garden
    Mr. Jarman's visual sense easily eclipses his conceptual talents. And The Garden has a burning, kaleidoscopic energy to compensate for the facile nature of some of its more unavoidable thoughts.
  27. For the Birds
    Miron avoids easy conclusions about what drives Kathy, and he stays with her long enough for her story to surprise. The reward of his patience is a psychological portrait that develops mystery the more it reveals.
  28. The Diary of Anne Frank
    Mr. Stevens has done a superb job of putting upon the screen the basic drama and shivering authenticity of the Frances Goodrich-Albert Hackett play, which in turn caught the magnitude of drama in the real-life diary of a Jewish girl.
  29. The Hustler
    Under Robert Rossen's strong direction, its ruthless and odorous account of one young hustler's eventual emancipation is positive and alive. It crackles with credible passions. It comes briskly and brusquely to sharp points.
  30. Sea of Shadows
    The plot twists are so spot on that a screenwriter might have rejected them.
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