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. I Am the Blues
    Less of a solemn pilgrimage than a folksy visit, this film is a chance to set a spell, watch longtime musicians play and boast and reflect about their lives on and off the road.
  2. 500 Years
    Heavy with emotion yet light on information, 500 Years has the curious effect of being both passionate and pale. You may find yourself championing its subjects even while feeling confounded by the omission of details by its filmmaker.
  3. Bronx Gothic
    Given the aesthetically confrontational nature of the piece, one can understand why Mr. Rossi did not attempt an undiluted cinematic translation of the complete Bronx Gothic. But something about his approach (which I assume was approved by Ms. Okpokwasili, as she is one of the movie’s executive producers) feels, finally, like an evasion.
  4. War for the Planet of the Apes
    There is a scene toward the end of War for the Planet of the Apes that is as vivid and haunting as anything I’ve seen in a Hollywood blockbuster in ages, a moment of rousing and dreadful cinematic clarity that I don’t expect to shake off any time soon.
  5. Swim Team
    Swim Team mostly aims to educate and inspire; on those counts, it succeeds.
  6. The Rehearsal
    At the end Ms. Maclean forsakes all the unsettling subtlety and nuance she has had so clearly in her command to serve up a finale that I found frankly confounding, despite its having been foreshadowed.
  7. The Confessions
    An investigation among the attendees grants Mr. Andò the opportunity to pursue pithy, discursive exchanges about power, austerity and capitalism amid high-end accommodations and a tasteful classical soundtrack.
  8. City of Ghosts
    More information and in-depth analysis, as well as greater restraint in the use of atrocity images, might have deepened a movie that leans on shortcuts and visual shocks.
  9. Darkness Rising
    There are almost too many references to other movies for this one to become its own monster.
  10. Austin Found
    The cast is surely capable of sharper comedy, but Will Raee, who directed, doesn’t get everyone on the same page. Ms. Cardellini and Ms. Schaal offer cardboard caricatures, while Mr. Ulrich, among others, plays it mostly straight.
  11. A Ghost Story
    A Ghost Story is suspenseful, dourly funny and at times piercingly emotional.
  12. Our Time Will Come
    It’s Fang’s transformation, embodied by Ms. Zhou’s lean, cool authority, that carries the most weight, lending the proceedings an unforced feminist dimension, and reaffirming Ms. Hui’s status as one of China’s cinematic treasures.
    • 55 Metascore
    • 70 Critic Score
    Mr. Majestyk
    Except for some dutiful splattering of gore, it ticks along rather steadily, under Richard Fleischer's unruffled direction. There is a take-it-or-leave-it air that snugly suits the star's performance, or vice versa.
  14. Chaplin
    Chaplin is to serious biography, even to Mr. Attenborough's Gandhi, what unfortified cornflakes are to real food. It's slick packaging around what is mostly warm air.
  15. The House
    It is a dark, startlingly bloody journey into the bitter, empty, broken heart of the American middle class, a blend of farce and satire built on a foundation of social despair.
  16. Patriot Games
    The fierce-looking Sean Bean is outstandingly good as Ryan's main antagonist, and Patrick Bergin brings the right air of calculation to the terrorist mastermind he plays. Several of the film's main sequences, like an encounter between Mr. Bean's Sean Miller and David Threlfall as the police inspector who has been his captor, derive their horror from the looks of pure loathing that these terrorists bestow upon their prey.
  17. Mali Blues
    Despite the urgency of the situation the musicians face, when they’re not doing their work, the movie is quiet, observant, taking in the austere beauty of the land and the people.
  18. Look & See: A Portrait of Wendell Berry
    It’s a pleasure to spend 80 minutes in Mr. Berry’s company.
  19. The B-Side: Elsa Dorfman's Portrait Photography
    Ms. Dorfman emerges as an artist of deep compassion, empathy, humor and wisdom.
  20. The Skyjacker's Tale
    The Skyjacker’s Tale could stand to lose its gimmicky re-enactments. Why supplement a story this crazy?
  21. Marie Curie: The Courage of Knowledge
    There’s a lot of labor and conflict shown here, and rarely have they looked so good.
  22. Reset
    Over all, this is an exciting film if not a completely cohesive one.
  23. The Reagan Show
    Reagan’s legacy remains a live and contentious issue. His name is still routinely invoked, on the left and the right, with reverence and rage. The Reagan Show helps attach a face to the name, but it doesn’t accomplish much more than that.
  24. Spider-Man: Homecoming
    The Vulture is a mess of prickly contradictions, only some of which seem intentional. His criminality, rage and perhaps his madness have been stoked by class resentment and Mr. Keaton, with his white-hot menace and narrowing eyes, makes him a memorably angry man, not a caricature.
  25. The Little Hours
    The Little Hours is saved from ignominy by two brief standout performances.
  26. 13 Minutes
    With a little more shading and originality, 13 Minutes might have pushed beyond its familiar Nazi tropes to shape something more immediate and infinitely more potent: an ominous portrait of radicalization.
  27. Guess Who's Coming to Dinner
    A most delightfully acted and gracefully entertaining film, fashioned much in the manner of a stage drawing-room comedy, that seems to be about something much more serious and challenging than it actually is.
  28. Hot Shots!
    Charlie Sheen brings just the right exaggerated seriousness to his ace pilot's role, and Cary Elwes perfectly captures the ingenue arrogance of Topper's handsome rival. Jon Cryer, as a pilot with major eyesight problems, also displays expert deadpan timing, especially when he delivers the film's most uproarious line.
  29. Eddie Murphy: Raw
    This feature-length concert film is hilarious, putting Mr. Murphy on a par with Mr. Pryor at his best.
  30. The 'Burbs
    So little goes on that it might be argued that The Burbs means to be a comment on the vacuity of popular entertainment in the television age, though it's much more an example of it. The film does nothing for the reputation of anyone connected with it, including Mr. Hanks, who deserves the Oscar nomination he has just received for his work in Big. This time he's attempting to act a role in a screenplay whose pages are blank.
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