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. The Wilde Wedding
    The soullessness of the enterprise is staggering. Making clichéd, cynical gestures toward romance, Mr. Harris (whose last feature was almost a decade ago) tortured me for a full 96 minutes.
  2. Wetlands
    For some, its atmosphere and intriguing performances will prove worthy of the outing.
  3. Brad's Status
    Brad’s Status at its best is genuinely thought-provoking.
  4. Rat Film
    Equal parts disturbing and humorous, informative and bizarre, Rat Film is a brilliantly imaginative and formally experimental essay on how Baltimore has dealt with its rat problem and manipulated its black population.
  5. Strong Island
    This potent film gives equal weight to complex emotions as well as bare facts. In the same way, it’s not just the story of a man’s death, but also a study of the aftermath.
  6. Manolo: The Boy Who Made Shoes for Lizards
    In a scene puzzlingly late in the film, Mr. Blahnik, who apparently still makes samples by hand, walks through his factory and finesses a sensuous heel out of a stump of wood. More of that would have made this confection about a radiant man into something sturdier.
  7. In Search of Fellini
    The movie can shift unevenly from effusive love letter to travel lust to sentimental moment, but that doesn’t break the fantasy.
  8. American Assassin
    The movie, directed by Michael Cuesta from a script by a team of blue-chip writers (Stephen Schiff and Michael Finch are credited, along with Edward Zwick and Marshall Herskovitz), shows more skill than personality.
  9. Indivisible
    The performances of the young actors who play them (actual twins, though not conjoined) are the real miracles here, each one creating a distinct personality.
  10. First They Killed My Father
    It is gorgeous and suspenseful, and it rushes heedlessly into dangerous terrain.
  11. mother!
    Mr. Aronofsky is a virtuoso of mood and timing, a devoted student of form and technique straining to be a credible visionary. But as wild and provocative as his images can be, there is something missing — an element of strangeness, of difficulty, of the kind of inspiration that overrides mere cleverness.
  12. The Future Perfect
    There is gentle comedy here, and a real rooting interest deriving from Ms. Zhang’s committed, never-a-false-note performance. The film’s unusual perspective makes it a distinctive and potentially enriching experience.
  13. EX LIBRIS: The New York Public Library
    In “Ex Libris,” democracy is alive and in the hands of a forceful advocate and brilliant filmmaker, which helps make this one of the greatest movies of Mr. Wiseman’s extraordinary career and one of his most thrilling.
  14. Dayveon
    The diffuse filmmaking style muffles the story’s power.
  15. Wrestling Jerusalem
    Sometimes the effort here is more admirable than exciting.
  16. The Challenge
    Shot in rich, wide-screen color, with minimal camera movements (except when a small camera is attached to a falcon’s restless head) and almost no dialogue, it is detached almost to the point of abstraction.
  17. Company Town
    The documentary Company Town, by Natalie Kottke-Masocco and Erica Sardarian, feels fueled by pure desperation; even the rudimentary qualities of the filmmaking (cheap-looking camera work, poorly punctuated title cards) somehow add to its urgency, as if the movie needed to get its message out by any means necessary.
  18. School Life
    School Life is a loving portrait, primarily, of the inspirational educator couple, who command the respect of their students and always seem to know what a particular child needs to hear.
  19. Boris Without Béatrice
    Denis Côté’s Boris Without Beatrice appears to have something to say about the hubris of the modern business tycoon, but it never coalesces into more than a self-amused goof.
  20. The Good Catholic
    Fortunately, Mr. Spicer’s earnest performance bolsters many of the weaker spots in Mr. Shoulberg’s script.
  21. Year by the Sea
    The movie is not entirely my cup of tea, although it is refreshing in its depiction of diverse, older female characters.
  22. True to the Game
    The direction, by Preston A. Whitmore II, seems hampered by either a lack of resources or a lack of interest.
  23. Nobody's Watching
    Nobody’s Watching addresses immigration issues head on, but it’s more about being set existentially adrift.
  24. Rememory
    A hodgepodge of pseudoscientific twaddle and variously shifty murder suspects, Rememory satisfies neither as science fiction nor as psychological drama.
  25. The Limehouse Golem
    Marrying fact and fiction, Jane Goldman’s seamy screenplay is wildly overstuffed; but the director, Juan Carlos Medina, gives the music hall scenes a rowdy authenticity.
  26. Trophy
    The intimacy of the film’s images and the surprising candor of its participants are disarming: Whatever your initial response, be prepared to re-evaluate.
  27. The Unknown Girl
    The Unknown Girl is as tense as a police procedural, and as mysterious as a religious parable.
  28. Fallen
    Like other fixtures of the Y.A. genre, Fallen is filmed with a professional sheen that sacrifices emotional sincerity for high production values.
  29. Rebel in the Rye
    While Rebel in the Rye isn’t quite as bad as its pile-of-bricks-clunky title suggests, it’s both simple- and literal-minded, less concerned with Salinger’s consciousness or sensibility than with his ostensible ontological status as a Tortured Creative Giant.
  30. Home Again
    For her directorial debut, Home Again, Hallie Meyers-Shyer, Nancy Meyers’s daughter, has made a shabby copy of a Nancy Meyers romantic comedy.
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