The New York Times' Scores

Select another publication »
For 20,312 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: 9,400 out of 20312
  2. Mixed: 8,446 out of 20312
  3. Negative: 2,466 out of 20312
20312 movie reviews
view
per page
  1. Everybody Loves Somebody
    The setup is commonplace, but the scenery is delicious, the dialogue refreshingly tart and the keen supporting cast frisky or affecting, as the occasion demands.
  2. A Cure for Wellness
    You might feel like you’re in the company of a manic cinephile friend breathlessly recounting his favorite movie scenes in no particular order. You admire his devotion, his taste and his scholarship, but in the end the experience is probably more satisfying for him than it is for you. Still, the company isn’t bad.
  3. The Great Wall
    The Great Wall flirts with romance and bleats out a little propagandistic blather about the benefits of bilateral action, but the focus throughout remains on multitudes of shifting, surging bodies — human and beast, digital and not — that, as they ebb and flow, resemble a Chinese military pageant and a lavish Busby Berkeley number.
  4. The Island Funeral
    A road movie that’s as mesmerizing as it is tense.
  5. Eagles of Death Metal: Nos Amis (Our Friends)
    The vivid recollections of the attack by survivors, including Mr. Hughes, take over the film midway through, and the friendship story line never quite re-establishes itself.
  6. Stray Bullets
    Mr. Fessenden’s ambition is admirable, and there’s more than a little raw skill on display. If this, his first feature, isn’t always worth recommending, his talents are certainly worth encouraging.
  7. Don't Hang Up
    The writer, Joe Johnson, and directors, Damien Macé and Alexis Wajsbrot, have a few surprises, but not enough to make this anything other than a formulaic story of teenagers behaving badly and getting what’s coming to them.
  8. I Am Jane Doe
    Without these balancing voices, I Am Jane Doe coalesces into a steamroller of pain that squashes our ability to see beyond its wounded families.
  9. Land of Mine
    Mr. Zandvliet is less interested in the stark battle between good and evil than in the shifting ground of power and responsibility, and the way that every person carries the potential for decency and depravity.
  10. Sex Doll
    The movie doesn’t credit any source material, but it plays like a poorly dramatized magazine exposé.
  11. Fifty Shades Darker
    A professional with real credits, so I assume that [Mr. Foley's] not finally responsible for the ineptitude of Fifty Shades Darker, which ranges from continuity issues to unsurprisingly risible writing. There are also abrupt swings in tone, dead-end detours and flatline performances, including from Ms. Johnson.
  12. John Wick: Chapter 2
    The plot matters only inasmuch as it allows the returning director, Chad Stahelski, to stage his spectacular fight sequences in various stunning Roman locations, where they unfold with an almost erotic brutality.
  13. Speed Sisters
    Subtly rebellious and defiantly optimistic, “Speed Sisters” masks the sound of gunshots with the roar of revving engines. For these women, driving symbolizes a freedom they can otherwise only imagine.
  14. 1 Night
    The journey could be a bit more eventful, but the payoff is charming.
  15. Left on Purpose
    Arguments over whether the documentary’s existence honors Mr. Vishner’s wishes and spirit — and whether continuing to film was appropriate — lead in circles.
  16. A United Kingdom
    While her filmmaking style can sometimes come across as staid, [Ms. Asante's] sense of pace is always acute. The best reason to see A United Kingdom, however, is the performance by Mr. Oyelowo.
  17. Kedi
    The movie is replete with ingeniously constructed mini-narratives, including a turf war. The mesmerizing score by Kira Fontana, interspersed with well-chosen Turkish pop, is a real asset.
  18. The LEGO Batman Movie
    As gateway drugs go, The Lego Batman Movie is pretty irresistible. It’s silly without being truly strange or crossing over into absurdity. Along the way it pulls off a nifty balancing act: It gives the PG audience its own Batman movie (it’s a superhero starter kit) and takes swipes at the subgenre, mostly by gently mocking the seriousness that has become a deadening Warner Bros. default.
  19. Rings
    This film doesn’t find any fresh ways to make you jump out of your seat. Ms. Lutz is appealing, though, and fans of the franchise will probably be pleased with the elaboration. Too many horror sequels are content merely to recycle what worked the first time.
  20. Chapter & Verse
    The movie’s wide-screen framing, ruthless plot reversals and say-what-you-mean writing sometimes recall a master of socially conscious cinema from another era, Sam Fuller. But this is a picture with its own strong voice.
  21. Growing Up Smith
    The movie has a roughly equal number of clumsy moments and sweet ones.
  22. A Good American
    A Good American gets bogged down in details and personnel talk, but its subjects have an urgent narrative to tell.
  23. Eloise
    A horror movie of such ineptitude that it invites sympathy for even its least gifted participants.
  24. Oklahoma City
    Oklahoma City suggests that conspiracy theories today have consequences for tomorrow — a message with terrifying implications in an age of fake news.
  25. War on Everyone
    Mr. McDonagh’s palette and spleen remain mostly intact, but here he’s neglected to include a story or point.
  26. Youth in Oregon
    A depressing slog that could have been so much more.
  27. Dark Night
    Until its climax, which clearly seeks to be congratulated on its restraint, Dark Night is not much more than an arty bore.
  28. This Is Everything: Gigi Gorgeous
    Adam Wescott and Scott Fisher, Ms. Lazzarato’s management team, are executive producers for the film, and to a great extent “This Is Everything” seems to follow an agenda set by them in tandem with the movie’s subject, which is largely commendable in its pitch for acceptance and against bigotry.
  29. Sophie and the Rising Sun
    The gently nostalgic mood and sleepy pacing effectively erase the movie’s necessary edge.
  30. The Space Between Us
    The movie is consistently tougher to resist than it might seem.
Page:

Top Trailers

See all »
See all trailers »