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. Just Getting Started
    In spite of the charm and discipline of the stars, the jokes misfire and the scenes creak and stumble.
  2. Star Wars: Episode VIII - The Last Jedi
    Yes, the latest “Star Wars” installment is here, and, lo, it is a satisfying, at times transporting entertainment. Remarkably, it has visual wit and a human touch, no small achievement for a seemingly indestructible machine that revved up 40 years ago and shows no signs of sputtering out (ever).
  3. Foxtrot
    The writer and director Samuel Maoz (“Lebanon”) has an exacting eye. The framing is meticulous; soon it’s also very purposefully working your nerves.
  4. Hollow in the Land
    Alison closely resembles Jennifer Lawrence’s character in “Winter’s Bone,” another self-sufficient young woman whose family and community turn against her. This movie is not as tense, but it gets close thanks to Ms. Agron’s resolute performance and the movie’s hostile small town setting.
  5. Bullet Head
    Is Bullet Head good? In truth, it’s drab, derivative and more than slightly silly, but it’s tough to dislike like a movie that proceeds as if the 1990s cycle of Quentin Tarantino knockoffs never ended and that uses the prospect of gory canine violence in service of loud and persistent pro-dog cheerleading.
  6. Quest
    I’ve rarely seen a movie about citizenship as quietly eloquent as Quest.
  7. Kaleidoscope
    Or maybe not: Committing completely to Carl’s wobbly perceptions, the filmmakers mire us in a hackneyed swamp of narrative uncertainty.
  8. I, Tonya
    As I, Tonya skips here and there and thickens the plot, it becomes increasingly baffling why the filmmakers decided to put a comic spin on this pathetic, dispiriting story. No matter how hard the movie tries to coax out laughs, there’s little about Ms. Harding, her circumstances or her choices that skews as funny.
  9. Bill Frisell: A Portrait
    The movie is at its liveliest when it depicts Mr. Frisell making his distinctive sound with a variety of colleagues. And, fortunately, Ms. Franz includes a lot of such footage.
  10. The Disaster Artist
    It’s a divertingly funny movie, but its breeziness can also feel overstated, at times glib and a bit of a dodge.
  11. Big Time
    Clearly, the architect and the filmmaker are tight, which does not entirely benefit Big Time.
  12. Rosa Chumbe
    The women’s missteps seem to come straight out of a cautionary morality play. And the movie’s dismal outlook even extends to the dimly-lit cinematography. It doesn’t need a miracle to see the light. It needs a full pardon.
  13. Sins of the Flesh
    No doubt subtleties have been lost in translation, but the film is best viewed as an overripe, noir-tinged tragedy.
  14. 32 Pills: My Sister's Suicide
    The more Hope’s own obsession grows, the more involving the movie gets, even as it raises ethical questions about its making — and about those who continue to watch.
  15. The New Radical
    It’s possible to fully, and vehemently, disagree with Mr. Wilson and Mr. Taaki yet still see their points. That can make The New Radical unsettling. It also makes it a film worth watching.
  16. The Dancer
    This movie, which stars Stéphanie Sokolinski, the French musician known as Soko, in the role of Fuller, only comes alive during the dance sequences.
  17. Voyeur
    Choosing not to delve too deeply into the mind of either man — or to question Mr. Talese’s journalistic ethics and less-than-scrupulous fact-checking — the directors are content to mostly watch as each vies for control of the movie, and his legacy. It’s an entertainingly desperate joust, playing out beneath defiantly unattractive lighting.
  18. The Shape of Water
    The Shape of Water is partly a code-scrambled fairy tale, partly a genetically modified monster movie, and altogether wonderful.
  19. Love Beats Rhymes
    The script by Nicole Jefferson Asher toggles between sharp observations about wordcraft and some “Dynasty”- or Tyler Perry-level soap operatics. RZA’s direction lacks visual personality, but he keeps the narrative moving and elicits strong performances from his cast.
  20. The Tribes of Palos Verdes
    The Malloys’ filmmaking never rises to the level of the actors’ nuanced performances. The actors are energized, but the camera enervates.
  21. Shadowman
    This intense documentary shows a driven creator walking the walk, so to speak, in the most perverse fashion possible. The story is both repellent and strangely inspiring.
  22. The Other Side of Hope
    The deadpan style of the acting functions as a vaccine against sentimentality, but there is no doubting the sincerity of this movie’s motives or the effectiveness of its methods.
  23. Wonder Wheel
    Wonder Wheel, Woody Allen’s latest movie, is one of his more unfortunate contributions to cinema.
  24. Loveless
    With its fastidious framing and angry-tough temperament, Loveless...earns its air of careful foreboding.
  25. AL DI QUA
    However worthy or political its intent, Al Di Qua is too overwrought to seem anything but trivializing.
  26. Naples '44
    It seems less a full-fledged movie than a trailer for a book.
  27. Eric Clapton: A Life in 12 Bars
    As a musical biography, this comes up short; it plays substantially better as a story of recovery and recovered integrity.
  28. Cuba and the Cameraman
    In part because of its political blind spots, Cuba and the Cameraman is captivating. (Whatever you think of Mr. Alpert’s perspective, it’s interesting.) But it’s mostly worth watching because of human stories like these.
  29. Bombshell: The Hedy Lamarr Story
    Ms. Dean relates Lamarr’s ventures, those onscreen and off, with savvy and narrative snap, fluidly marshaling a mix of original interviews and archival material that includes film clips, home movies and other footage.
  30. Call Me by Your Name
    Call Me by Your Name is less a coming-of-age story, a tale of innocence and loss, than one about coming into sensibility. In that way, it is about the creation of a new man who, the story suggests, is liberated by pleasure that doesn’t necessarily establish sexual identity.
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