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. Félicité
    Mr. Gomis’s cinematic style is spectacularly multifaceted.
  2. Crash Pad
    The movie’s premise isn’t as bad as the forced, unnatural dialogue. Even the reliable Ms. Applegate and Mr. Church can’t salvage the screenwriter Jeremy Catalino’s clumsy lines.
  3. The Work
    Opening an aperture into a process so ego-stripping that it feels unseemly to witness, The Work is enlightening yet also punishing.
  4. The Divine Order
    The Divine Order effectively illustrates how peer pressure can influence the political process. Collective silence, whether it’s from women unwilling to publicly press for their rights or men afraid to voice agreement with their wives for fear of looking weak around co-workers, proves more of an obstacle than any opponent. That message gives Ms. Volpe’s lark a timely edge.
  5. All I See Is You
    The director, Marc Forster (who wrote the script with Sean Conway), fashions such a languid, tipsy aesthetic around the seemingly happy marriage of Gina and James (Blake Lively and Jason Clarke) that it’s easy to keep watching.
  6. Thank You for Your Service
    If, like its characters, Thank You for Your Service sometimes struggles to balance staying strong with wearing its heart on its sleeve, it makes an emotional plea in a direct, effective way.
  7. God's Own Country
    God’s Own Country weaves a rough magic from Joshua James Richards’s biting cinematography and the story’s slow, unsteady arc from bitter to hopeful.
  8. Tyler Perry's Boo 2! A Madea Halloween
    This movie finds Mr. Perry, never the most deft at the technical aspect of filmmaking, drastically off whatever his best game is.
  9. Geostorm
    Geostorm uses digital technology to lay waste to a bunch of cities and hacky screenwriting to assault the dignity of several fine actors.
  10. The Snowman
    A leaden, clotted, exasperating mess.
  11. BPM (Beats Per Minute)
    in spite of its historical specificity, BPM never feels like a bulletin from the past. Its immediacy comes in part from the brisk naturalism of the performances and the nimbleness and fluidity of the editing. The characters are so vivid, so real, so familiar that it’s impossible to think of their struggles — and in some cases their deaths — as unfolding in anything but the present tense.
  12. The Killing of a Sacred Deer
    “Sacred Deer” feels like a dark, opaque bit of folklore transplanted into an off-kilter modern setting.
  13. Wonderstruck
    Mr. Selznick’s emphasis on wonder...can feel bullying, as if he were demanding delight instead of earning it. Yet even as he follows Mr. Selznick’s narrative lead, Mr. Haynes quietly and touchingly makes Wonderstruck his own because the wonder of the film isn’t in its story but in its telling.
  14. Jane
    Jane will delight those familiar with Ms. Goodall and provide a vibrant introduction for newcomers.
  15. Never Here
    Ms. Enos is a credibly fraying voyeur, all anxious looks and nervous starts, but “Never Here” is too emotionally antiseptic to engage.
  16. Jungle
    Slow to get moving and dramatically slack, Jungle cares only about Yossi, whose solo suffering and speed-enhanced hallucinations dominate the narrative.
  17. Tragedy Girls
    Tragedy Girls might add group texts to its instruments of death alongside marauding table saws and falling barbells, but the movie’s gender stereotypes keep it chained to the past.
  18. Only the Brave
    Under its slick, schematic surface, this tale of aspiration and redemption at least offers moments of genuine feeling.
  19. One of Us
    As a documentary, One of Us is a small act of portraiture, but each portrait captures the pain of having a life upended.
  20. Dealt
    Such a dynamic personality as Mr. Turner’s could use a more dynamic documentary to illuminate it. As it is, “Dealt” remains a pleasing — if inoffensive — portrait.
  21. Aida's Secrets
    In this time of mass displacement across the globe, it is a stark reminder of how traumatic the refugee experience often is.
  22. Tempestad
    It’s an artful and lyrical assembly.
  23. Liberation Day
    Liberation Day, a documentary of preparations for the concert directed by Mr. Traavik and Ugis Olte, is a consistently understated chronicle of Westerners who are very carefully playing with fire.
  24. The Paris Opera
    The Paris Opera feels at once sprawling and insufficiently patient.
  25. Te Ata
    The movie’s driving force is its mythic performance scenes, which are choreographed, sung and acted with clear, balletic conviction by the film’s star, Q’orianka Kilcher.
  26. Human Flow
    What Mr. Ai seeks is to go far beyond the nightly news; he wants to give you a sense of the scale of the crisis, its terrifying, world-swallowing immensity. And so he jumps from one heartbreak to the next.
  27. Professor Marston & the Wonder Women
    A sly and thoroughly charming Trojan horse of a movie.
  28. Marshall
    Like his character, Mr. Boseman is the star of this show, while Mr. Gad is the second banana and often comic relief. Both performers are natural showmen who never step on each other’s moment; they’re fun to watch.
  29. Diamond Island
    As with a dream, you can parse what you’ve watched for meaning or just savor what you’ve seen. For this compassionate film, either way works fine.
  30. Breathe
    Offering no hint of the backbreaking drudgery and mental strain of their predicament, this gauzy picture (produced by the couple’s son, Jonathan Cavendish, and directed by his friend, the actor Andy Serkis) is a closed loop of rose-tinted memories.
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