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. Mom and Dad
    Mr. Taylor offers up nothing but glitchy editing and bad vibes.
  2. Kangaroo
    This film isn’t always pretty, but its message is necessary.
  3. The Final Year
    In the final half-hour, things start picking up, not just because of the impending surprise victory of Donald J. Trump and the way these players react to it.
  4. Small Town Crime
    The Nelmses don’t make enough of their more intriguing ideas (Mike’s familial history) and end up right where you expect they would, bang bang. But Mr. Hawkes keeps you tethered, whether he’s navigating the movie’s uneven tones or peeling down one of cinema’s lonely highways in a muscle car so lovingly shot it deserves a co-star credit.
  5. Beuys
    Even if you don’t need Beuys justified or explained to you, the movie is an exhilarating portrait of a unique truth-teller.
  6. Proud Mary
    Ms. Henson, ever simmering, takes Mary’s moral conundrum very seriously. Her expressive eyes and nuanced body language work well for the character; she can put across a major change in attitude just by shifting a hip. The script, though, doesn’t give her a whole lot of material with which to credibly enact her character’s crisis.
  7. What Lies Upstream
    Is “What Lies Upstream” persuasive in all respects? No. Will it make you think twice about what’s gone unnoticed in your tap water? Absolutely.
  8. Dim the Fluorescents
    Mr. Warth, who wrote the screenplay with Miles Barstead, creates a flawed tale of female friendship and the artist’s everlasting struggle. Unfortunately, Dim the Fluorescents can’t keep its story together.
  9. The Commuter
    It’s not even very good as a genre exercise, and can’t always keep track of which genre muscles it wants to flex. For a while it’s a locked-room mystery. Then it’s a runaway-train thriller.
  10. My Art
    My Art invests far too much in the conceit. (The re-creations look like unfunny “Airplane!” parodies.) Part of the problem is that Ms. Simmons has surrounded herself with more interesting actors, including a scene-stealing Parker Posey.
  11. Saturday Church
    It is a disarmingly and consistently sensitive movie that remains engaging even when its reach sometimes exceeds its grasp.
  12. Freak Show
    Mr. Lawther is sympathetic and appealing as Billy, but Ms. Styler seems to mistake broad strokes for stylistic daring, and her colorful but diffuse movie never jells.
  13. Bitter Money
    It’s not clear that the director quite found what he was looking for.
  14. Humor Me
    The movie never gets too deep, which is half of its charm. The other half involves the low-key comic performances by a stellar cast including Annie Potts and Bebe Neuwirth.
  15. Abe & Phil's Last Poker Game
    The medical tidbits, however awkwardly presented, are the most distinctive aspects of the script. The flat direction, alas, is not the work of a filmmaker.
  16. Acts of Violence
    This dopey action thriller harks back to grindhouse pictures of the ’70s and ’80s, although it’s too tasteful, if that’s the word, to consistently exploit the more lurid implications of its sensationalist scenario.
  17. Lover for a Day
    There are times when the characters — and their director — surprise and genuinely delight.
  18. Vazante
    By the end, it’s hard not to wish that Ms. Thomas had traded a bit of her art-film drift for something more direct.
  19. The Insult
    There is something undeniably exhilarating about the film’s honest assessment of the never-ending conflict between decency and cruelty that rages in every nation, neighborhood and heart.
  20. Paddington 2
    Mr. King and his excellent team of actors and animators spin good writing and seamless digital effects into Rococo children’s entertainment. The gags don’t accumulate; they tessellate.
  21. Dark Meridian
    Chases, shootouts and showy camera moves are executed deftly enough, but given the frugal trappings, they play as overambitious — an attempt to make a storage tank of lemonade from one lemon.
  22. Devil's Gate
    It’s not good, but it could pass muster among midnight-movie enthusiasts or curious stoners.
  23. Django
    The finale enlivens an otherwise staid biopic, but whether the film has earned a moment of uplift is unclear.
  24. The Green Fog
    As a chronicle of how San Francisco has changed over the years — and as a salute to the city’s role as a back lot for masters like Erich von Stroheim and Howard Hawks — The Green Fog is a wonder of excavation and urban history. What it says about Hitchcock is more ambiguous.
  25. In the Land of Pomegranates
    A tough and cleareyed look at how things are, rather than how we want them to be.
  26. Blame
    Blame is earnest but underdeveloped. At the same time, it’s overdetermined and often overplayed.
  27. In Between
    In Between, Ms. Hamoud’s debut feature, is an unusually welcoming and engaging film, inviting you to become a part of the circle of friends it depicts with such energy and warmth. For that reason, it can also be frustrating.
  28. Anatomy of a Male Ballet Dancer
    In retrospect, the sheer amount of gush in the movie, all the praise and feverish shouts of bravo, underscores the limits of affirmational documentaries. It is also a reminder that a movie’s meaning is made (and remade) by its viewers, not just its content.
  29. Film Stars Don't Die in Liverpool
    Landing lightly on the loneliness of fame and the ravages of aging, Film Stars Don’t Die in Liverpool is a fond farewell to a distinctive talent. Yet I couldn’t help wishing it had spent less time anticipating Grahame’s death and a little more illuminating her life.
  30. In the Fade
    The ending is puzzling, when it wants to be devastating, and the political and personal sides of the story, rather than illuminating each other, fight to a stalemate. Ms. Kruger, however, who won the best actress award at Cannes in May, leaves a vivid, haunting impression.
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