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. Seeing Allred
    A documentary that’s remarkably engaging despite treating its rough-and-tumble hero with kid gloves.
  2. The Peacemaker
    The movie is a fascinating portrait that is if anything too brief.
  3. The 15:17 to Paris
    Mr. Eastwood, who has long favored a lean, functional directing style, practices an economy here that makes some of his earlier movies look positively baroque. He almost seems to be testing the limits of minimalism, seeing how much artifice he can strip away and still achieve some kind of dramatic impact.
  4. Black Panther
    It wouldn’t be a Marvel production without manly skirmishes and digital avatars. Yet in its emphasis on black imagination, creation and liberation, the movie becomes an emblem of a past that was denied and a future that feels very present. And in doing so opens up its world, and yours, beautifully.
  5. The Cloverfield Paradox
    The actual movie is strangely plain, eyesore-overlit and uselessly frantic.
  6. Winchester
    Despite the typically elevating presence of Helen Mirren, this super-silly feature (the fifth from the Australian brothers Peter and Michael Spierig) stubbornly resists being classed up.
  7. 24 Frames
    24 Frames can’t help but be affecting because it is Kiarostami’s final movie. But it’s intellectually uninvolving, and its technical limitations prove frustrating.
  8. Legend of the Mountain (1979)
    All these attractions are a necessary balm given that Ho turns out to be a deeply uninvolving character (Mr. Shih mostly smiles, grimaces or looks amazed), a wan placeholder for a character in a narratively thin film that runs over three very leisurely hours.
  9. The Music of Silence
    This blah trudge from cradle to stage will be catnip to his fans and Ambien to everyone else.
  10. The Cage Fighter
    The Cage Fighter is not riveting from moment to moment, but Mr. Unay allows the movie’s themes to click into place beautifully toward the end.
  11. Before We Vanish
    Mr. Kurosawa, a prolific and skilled genre master, spins this parable with a light, nimble touch, punctuating heavy passages of exposition with punchy, modest action sequences and snatches of incongruously bouncy music.
  12. In the Intense Now
    Those dreading 50th-anniversary greatest-hits medleys will find solace, enlightenment and surprise in João Moreira Salles’s In the Intense Now, a bittersweet, ruminative documentary essay composed of footage from the era accompanied by thoughtful, disarmingly personal voice-over narration.
  13. Padmaavat
    Mr. Bhansali is painting with a broad brush.
  14. The Opera House
    To its credit, The Opera House, directed by Susan Froemke, only sometimes plays like a fund-raising tool.
  15. Shot in the Dark
    This director isn’t afraid of silence, and he’s prepared to let a quiet moment speak for itself. Attentive viewing is required, and rewarded.
  16. The Last Family
    The tragedies in this family’s life are nearly constant, but Mr. Matuszynski approaches them with a tone that’s matter-of-fact while also partaking in the particular wry irony that has been a hallmark of Polish cinema since the early 1960s.
  17. Like Me
    With little more than the superficial psychology of shallow characters to guide the movie’s squeamish images, Like Me irritates, but it proves unable to provoke more than mild gut reactions.
  18. Please Stand By
    Despite [Fanning's] commitment to the role — and the generally fine supporting performances — this timorous tale sidesteps uncomfortable realities in favor of soothing whimsy and preordained uplift.
  19. West of the Jordan River
    Through interviews with Israeli politicians, and Palestinians and Israelis in the West Bank, West of the Jordan River gives voice to peace-seeking residents on both sides of the conflict.
  20. The Clapper
    Mashing limp romance and artless satire into a ludicrously contrived plot, The Clapper lurches from one mirthlessly eccentric scene to another.
  21. Have a Nice Day
    Leisurely and deliberate, intelligent and casually cruel, Have a Nice Day is a stone-cold gangster thriller whose violence unfolds in passionless bursts.
  22. Maze Runner: The Death Cure
    The director, Wes Ball, knows how to move his camera around a futuristic medical compound, and the filmmaking brio — especially the sights of Earth’s last city, shot in Cape Town — mitigates the eye rolls prompted by the plot.
  23. Forever My Girl
    The director, Bethany Ashton Wolf, who adapted the screenplay from, yes, a romance novel by Heidi McLaughlin, can concoct some Hallmark-greeting-card-quality shots, but has little flair for piecing them together. The lead actors are very pretty.
  24. Tall: The American Skyscraper and Louis Sullivan
    The film is useful in part because it is so frankly argumentative. The critical appreciation of art is always advanced more effectively by partisanship than by neutrality.
  25. The Banishment
    The first two-thirds are an extraordinary slow burn that provides ample time to admire Mr. Zvyagintsev’s talent with the wide frame. The movie is marred by an unsatisfying resolution, which has a coyness better suited to literature.
  26. Mama Africa: Miriam Makeba
    Like many biographical documentaries, it resembles a lengthy highlight reel of crucial events from its subject’s life, without much in the way of style or perspective.
  27. Den of Thieves
    The film is generous with action and twists, even if some don’t track. For January, a month Hollywood reserves for dogs, this is an admirably weird movie.
  28. A Ciambra
    Mr. Carpignano has a shrewd sense not only of the character’s psychology, but also of the audience’s expectations, and our tendency to confuse realism with magical thinking.
  29. 12 Strong
    For devotees of cinematic blowouts and dedicated students of screen masculinity (like me), 12 Strong is premium, Grade A catnip. Directed by the newcomer Nicolai Fuglsig, it is generally watchable, if unsurprisingly easier on the eyes than on the ears or brain.
  30. The Road Movie
    The camera offers no protection; it only provides a witness. Fortunately for audiences, it’s more pleasurable to witness anarchy than it is to experience it.
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