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. Phantom Thread
    On first viewing, the captivating strangeness of the mood and the elegant threading of the plot are likely to hold your attention, but later you can go back to savor the lustrous colors, the fine-grained performances and the romantic mystery that holds the whole thing together.
  2. All the Money in the World
    All the Money in the World revs up beautifully, first as a thriller. But while the kidnapping is the movie’s main event, it is only part of a story that is, by turns, a sordid, desperate and anguished tragedy about money.
  3. Molly's Game
    It is hard not to wonder how this movie might have turned out if Mr. Sorkin had decided his protagonist was as much a weasel as the one he wrote for “The Social Network,” another story of an American striver. It’s hard not to wonder, too, how this story might play if its protagonist wasn’t a woman who, as this movie sees it, needed so much male defending.
  4. Father Figures
    Distinguished mainly by its overqualified cast and lack of inspiration, Father Figures can’t decide whether it’s a gross-out comedy or an uplifting tale of brotherly love; it embraces the worst of both worlds.
  5. A German Life
    A German Life is likely to be the last new movie of its kind: a documentary that presents contemporary testimony from someone who witnessed the inner workings of the Nazi high command.
  6. Along With the Gods: The Two Worlds
    Story clarity and emotional depth tend to evaporate amid the visual pyrotechnics.
  7. Crooked House
    The superb cast provides mild pleasures, as do some aspects of the elaborate mystery itself. And that’s all, folks.
  8. Hangman
    Hangman is riddled with holes — blank spaces, if you will.
  9. Drawing Home
    A mild film, Drawing Home could use an electrical charge, or an undercurrent of urgency. The pacing is uneven, and the movie feels slow in spots and too long overall, even though it lacks detail that would have enriched it. An internet search offers a fuller idea about the real lives of the subjects.
  10. Happy End
    It has an uncommonly strong ensemble cast...but the movie belongs to Mr. Trintignant.
  11. Downsizing
    Downsizing is an ambitious movie about the value of modesty, and its faults are proportionate to its insights. I sort of wish it felt like a bigger deal, but maybe that’s my problem.
  12. Bright
    You’ll find beatings, shootouts, car crashes, awkward analogies and a measure of buddy badinage in “Bright,” but true enchantment is in short supply.
  13. The Post
    As a filmmaker, Mr. Spielberg invariably comes down on the side of optimism; here, that hopefulness feels right. It also feels like a rallying cry.
  14. Hostiles
    Hostiles itself wants to be both a throwback and an advance, not so much a new kind of western as every possible kind — vintage, revisionist, elegiac, feminist. What makes the movie interesting is the sincerity and intelligence with which it pursues that ambition, heroically unaware that the mission is doomed from the start.
  15. Pitch Perfect 3
    With a plot as unfocused as its freshly graduated characters, the shaggy Pitch Perfect 3 gets by on karaoke logic: What makes for a good time isn’t the song you sing, but the company you keep.
  16. The Greatest Showman
    An amusement park version of P.T. Barnum is fine, as far as that goes, but if you are going to aim for family-friendly fun, you need to get the fun part right.
  17. Jumanji: Welcome to the Jungle
    The performances by Mr. Johnson, Mr. Hart and Mr. Black seem informed by the conviction that if they amuse themselves, they will also amuse others. They are not entirely wrong, but they are also not sufficiently right.
  18. Permanent
    As the parents, Mr. Wilson and Ms. Arquette seem just about as tired as the characters they’re playing. As Auralie, Ms. McLean is appealing and fresh-faced and could do well in a better coming-of-age movie in a few years.
  19. Soufra
    Crisply directed by Thomas Morgan, the film depicts a succession of challenges facing Ms. Shaar, a smart, understated and tenacious entrepreneur.
  20. Birdboy: The Forgotten Children
    Its enchantments are dark, its ideas somber and brutal.
  21. Sundowners
    Closure may be missing, but at least glimpses of promising Canadian performers are in abundant supply.
  22. Desolation
    Working a low body count and a slow burn, Desolation is a decent short film that’s been unwisely expanded to feature length.
  23. The Rape of Recy Taylor
    The miracle, though, is that the movie isn’t a diatribe. Its voices...are gentle and persuasive, using the horrific details of the rape and its aftermath as ballast to stabilize a heart-wrenching history of systemic injustice.
  24. The Ballad of Lefty Brown
    While Mr. Moshé’s ambitions can be frustratingly modest, he does know that — however fraudulent the genre’s myths — the image of a man riding a horse into the sunset is in our cinematic DNA.
  25. Beyond Skyline
    I did admire this movie’s near-lunatic genre-hopping.
  26. Killing for Love
    Marcus Vetter and Karin Steinberger’s sprawling documentary probably dives into the weeds too quickly and could have used a tighter edit. Still, drawing on a wealth of courtroom video, the film lays out a persuasive argument for reasonable doubt.
  27. Ferdinand
    Ferdinand, the new computer-animated adaptation from Carlos Saldanha (the “Ice Age” movies), speaks to its own time in a different way, dutifully adhering to the template for contemporary children’s films while avoiding much personality or distinction
  28. Miss Kiet's Children
    As in Nicolas Philibert’s similar French documentary “To Be and to Have” (2002), the relative absence of conflict in the interactions between a seasoned teacher and wonderful pupils grows tedious at feature length, and there is — presumably by design — relatively little meat on this documentary’s bones.
  29. Just Getting Started
    In spite of the charm and discipline of the stars, the jokes misfire and the scenes creak and stumble.
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