The New York Times' Scores

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For 20,311 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: 9,399 out of 20311
  2. Mixed: 8,446 out of 20311
  3. Negative: 2,466 out of 20311
20311 movie reviews
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  1. In the Last Days of the City
    Whether In the Last Days of the City ultimately comes together as a feature is open to debate, but this is a film of beauty and skill.
  2. Rogers Park
    The screenwriter, Carlos Treviño, crafts frank dialogue and the director, Kyle Henry, films the scenes with an eye for the intimate, dividend-paying gesture. The superb actors, given opportunities to go for broke, make each one count, and make the movie worth watching.
  3. Supercon
    Supercon offers lip service to fan culture, yet it is difficult to imagine who would enjoy watching this ill-conceived satire. Directed by Zak Knutson, who also contributed to the screenplay, the movie is careless with its setting, callous toward its characters and crass about its audience.
  4. Kings
    The first English-language film from the Turkish-French director Deniz Gamze Ergüven (her 2015 movie “Mustang” was a foreign language Oscar nominee) is well-acted across the board, and contains more than a few outstanding, unpredictable scenes. But in tying its story to this particular moment in American history, the movie bites off more than it can coherently chew.
  5. Ava
    Lurching relentlessly from one conflict to another, the movie distills its emotions — and maintains its momentum — in conversations of remarkably controlled intensity.
  6. Mrs. Hyde
    Whenever the movie tries to say something insightful about racial integration — or education, or any number of issues — it backs off or bogs down. It’s so tonally and ideologically unfocused that its ideas just slip away.
  7. Let the Sunshine In
    Ms. Binoche, effortlessly charismatic and ruthlessly unvain, has no investment in the character’s likability. She and Ms. Denis could not care less what you think of her. Let the Sunshine In commits itself to taking Isabelle on her own terms. The challenge, for her and for the audience, is to figure out what those terms are.
  8. Disobedience
    The director Sebastián Lelio should have been a good fit for this story if only because of the sensitivity he’s brought to female-driven movies like “Gloria.” Although Disobedience seems to offer him similar material — female desire up against the patriarchy — it defeats him.
  9. Avengers: Infinity War
    Where you end up may not be where you thought this was going. The final act, including the post-credits sting (to infinity and beyond, as it were) brings a chill, a darkness and a hush that represent something new in this universe.
  10. I Feel Pretty
    Amy Schumer puts out so much energy in I Feel Pretty that it’s hard not to feel charged up, too. The movie is seriously suboptimal, but she is such a force for good — for comedy, for women — and the laughs land often enough that you can go, if somewhat begrudgingly, with the messy flow.
  11. Kodachrome
    If this earnest and forgettable road movie represents a meaningful tribute to taking pictures, we ought to go back to cave drawing.
  12. Ghost Stories
    Managing to feel at once painfully slow and bafflingly truncated, this creaky triptych of not-so-scary tales is a tame curiosity of movie nostalgia.
  13. Little Pink House
    Palely photographed and anchored by a quiet, rather weary performance from Ms. Keener, Little Pink House is a peculiarly enervated affair. The structure is choppy, and there are odd moments of tonal dissonance.
  14. The Devil and Father Amorth
    If this documentary celebrates a crackpot, Mr. Friedkin is his match. The director’s blabbermouth tendencies and wry manner make him an enjoyable M.C.
  15. After Auschwitz
    Jon Kean, the director, chose the material wisely and doesn’t shy from severe images. He and his team also have good ears for anecdotes.
  16. Beyond the Clouds
    Persistent sentimentality — manifested most in the music score by A.R. Rahman — undercuts Beyond the Clouds at almost every turn.
  17. Super Troopers 2
    The antics never out-and-out surprise, but they almost never fail to amuse.
  18. Lou Andreas-Salomé, The Audacity to be Free
    Throughout, the writer and director Cordula Kablitz-Post asserts Andreas-Salomé’s commitment to her own independence. But Ms. Kablitz-Post’s focus on Andreas-Salomé’s suitors has the effect of chaining the early feminist’s legacy to exactly the patriarchal conventions she claims to reject.
  19. Godard Mon Amour
    For hard-core Godardians, Godard Mon Amour will be an indispensable hate-watch. For the Godard-ambivalent, the critical outrage of the partisans will provide its own kind of amusement. But you don’t need to have strong feelings about Godard to notice the off flavors in this airy, brightly colored macaron.
  20. 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.
  21. The Judge
    Though voices both welcoming and hostile to women judges are represented, Ms. al-Faqih’s likely Sisyphean battle to reach her position feels insufficiently underlined.
  22. Zama
    Ms. Martel is exploring the past, how we got here and why, but she is more interested in relations of power than in individual psychological portraits. The monstrous must be humanized to be understood, which doesn’t mean it deserves our tears.
  23. The Broken Tower
    Despite earnest attempts, Mr. Franco can’t bring the fervency of Crane’s poetry to life in the extensive recitations.
  24. Jeannette: The Childhood of Joan of Arc
    “Jeannette” throws the modern back at the medieval, making no distinction between religious ecstasy and that experienced in certain contemporary contexts of music and ritual. It’s a provocative proposition that yields a film of genuine spiritual dimension.
  25. Wildling
    This creature feature from the director Fritz Böhm is functional but lacks flavor, an imaginative spark that might distinguish it from any number of other I-was-a-teenage-monster movies.
  26. Grace Jones: Bloodlight and Bami
    The relief of Grace Jones: Bloodlight and Bami is that it seeks to square the person with the provocateuse. The documentary is a feat of portraiture and a restoration of humanity. It’s got the uncanny, the sublime, and, in many spots, a combination of both.
  27. Aardvark
    Mr. Shoaf wastes an excellent cast (and one cute aardvark — you knew there’d be one) in a movie of astonishing vacancy.
  28. Krystal
    At 93 minutes Krystal feels chaotic and thin, like a pilot that was also forced to be a series finale.
  29. Submergence
    The movie feints in the direction of confronting horrific geopolitical realities, but there’s a specter of sentimentality hovering above the proceedings, waiting to smother everything in sight.
  30. Come Sunday
    While Marcus Hinchey’s screenplay is occasionally too blunt, Come Sunday accords sympathetic moments to all its characters — a strategy that gives this chronicle of religious convictions a conviction of its own.
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