The New York Times' Scores

Select another publication »
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
view
per page
  1. Brimstone & Glory
    The film, accompanied by a percussive score from Benh Zeitlin and Dan Romer (both wrote the music for “Beasts of the Southern Wild,” which Mr. Zeitlin directed), has a wandering attention span and grows monotonous even at barely more than one hour.
  2. Darkest Hour
    Churchill’s resolve, like the bravery of the soldiers, airmen and ordinary Britons in “Dunkirk,” is offered not as a rebuke to the current generation, but rather as a sop, an easy and complacent fantasy of Imperial gumption and national unity.
  3. Mr. Roosevelt
    Ms. Wells is appealing onscreen and is a smart writer. She gives Emily some good zingers.
  4. The Man Who Invented Christmas
    Brightly lit and anchored by Mr. Stevens’s infectious, live-wire performance, the film, directed by Bharat Nalluri (“Miss Pettigrew Lives for a Day”), nevertheless proceeds like a television holiday special, designed to distract children while winking at their parents.
  5. Coco
    If Coco doesn’t quite reach the highest level of Pixar masterpieces, it plays a time-tested tune with captivating originality and flair, and with roving, playful pop-culture erudition.
  6. Porto
    This first narrative feature from Gabe Klinger seduces with breathtakingly gorgeous visuals that feel both achingly nostalgic and elegantly modern. These often ravishing aesthetics and stylistic quirks act as soft restraints, keeping us watching despite a near-total absence of story and a thinly disguised attitude of male entitlement.
  7. Big Sonia
    Sonia is a powerful subject, but Big Sonia brings little perspective to her story.
  8. The Breadwinner
    In its alternating of Parvana’s day-to-day struggle with the tale she tells herself, the movie doesn’t promote bromides about stories and storytelling transcending reality. Rather, it demonstrates that the way imagination refracts reality can provide not only solace but also real-world strategy.
  9. On the Beach at Night Alone
    Ms. Kim is simultaneously an ordinary woman and a melodramatic heroine, her performance made more layered and intriguing by the intimation that she may be playing herself.
  10. Wonder
    Wonder is that rare thing, a family picture that moves and amuses while never overtly pandering.
  11. Jim & Andy: The Great Beyond — Featuring a Very Special, Contractually Obligated Mention of Tony Clifton
    The result isn’t another ho-hum documentary likeness in which all the elements neatly and often flatteringly stack up. “Jim & Andy” is instead a complexly layered and textured Cubist portrait, one that’s been constructed from fragments of its two title subjects and their work.
  12. Wet Woman in the Wind
    Genre homage or not, trashy, assault-coddling sexism is a turn off — and worse. Perhaps the “roman porno” reboot project should have rebooted its sexual politics before calling “action!”
  13. Sweet Virginia
    A twisty, small-town thriller that blooms in the shadows and shies from the light, “Sweet Virginia” marshals a relentlessly threatening mood from dangerous secrets and unpleasant surprises.
  14. Cook Off!
    The movie tries to do for amateur cooking contests what “Best in Show” did for dog competitions, but the strained folksiness and tired stereotypes couldn’t be further from the snap and wit of prime Christopher Guest.
  15. Roman J. Israel, Esq.
    It offers tonal whiplash for viewers, with several potentially great ideas that don’t settle into a coherent whole.
  16. Mudbound
    It’s a work of historical imagination that lands in the present with disquieting, illuminating force.
  17. Rebels on Pointe
    The cinematography isn’t the greatest, and the structure is hit or miss, but so what? In a movie this good natured, the heart is everything. The performances are hilarious, but the dancing is no joke.
  18. A Fantastic Woman
    Psychologically astute and socially aware as the film is, it is also infused with mystery and melodrama, with bright colors and emotional shadows.
  19. Justice League
    The story is a confusion of noise, visual clutter and murderous digital gnats, but every so often a glimmer of life flickers through.
  20. Song of Granite
    Mr. Collins doesn’t shed light on what makes his subject tick, and the arty shards never cohere.
  21. Hello Again
    The movie benefits from Austin Schmidt’s neon-infused cinematography and Annie Simeone’s lush production design. But Mr. LaChiusa’s songs largely fail to resonate here. Dramatic traction suffers, probably as a result of the many, and diffuse, vignettes. And yet this is a commendably audacious effort by Mr. Gustafson (“Were the World Mine”).
  22. Thelma
    Mr. Trier’s experimenting mostly works, especially when the genre pieces dovetail with his gifts and Thelma’s story.
  23. Daddy's Home 2
    If “Daddy’s Home” (2015) played like a distant, wayward cousin of “Step Brothers,” Daddy’s Home 2, again directed by Sean Anders, is the sort of relative you might disown.
  24. Window Horses
    At first, Rosie’s simplicity is jarring. But as the character learns more about her personal and poetic origins, her minimalist frame absorbs the weight of a rich, complex history. That transformation is the great pleasure of watching this small film.
  25. No Stone Unturned
    What Mr. Gibney uncovers is grave and shocking and could make a viewer concerned for the safety of the filmmaker. But its presentation is flawed.
  26. Mayhem
    The director, Joe Lynch, concocts an uneven blend of video game setups and corporate satire.
  27. Destination Unknown
    Ms. Ferguson’s film does not seem to have a particular organizing principle at first. These survivors do not necessarily know one another. But their stories, intercut with archival footage over a brisk and frequently harrowing 81 minutes, build to a pitch of horror and sadness that eventually allows for a note or two of hope to sound.
  28. Bitch
    As she did in her gentler but equally original “Good Dick” in 2008, Ms. Palka carves a black and biting niche between a man and a woman, a space where chaos and psychological unease demand to be reckoned with.
  29. I Remember You
    The Icelandic director Oskar Thor Axelsson is clearly fluent in horror conventions. But he has commendable restraint, and his latest film, I Remember You, transcends genre pyrotechnics even as it incorporates elements of Nordic noir.
  30. Intent to Destroy
    While there may be no completely dispassionate way to discuss its topic — the Armenian genocide — the film’s balance of emotion and composure helps make its stories even stronger.
Page:

Top Trailers

See all »
See all trailers »