The New York Times' Scores

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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
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  1. Silence
    The film’s solemnity is seductive — as is Mr. Scorsese’s art — especially in light of the triviality and primitiveness of many movies, even if its moments of greatness also make its failures seem more pronounced.
  2. I, Daniel Blake
    What makes the pain of this film bearable is Daniel’s unquenchable decency, courage and perseverance.
  3. Toni Erdmann
    Toni Erdmann, proceeding in a perfectly straightforward manner, from one awkward, heartfelt, hilarious scene to the next, wraps itself around some of the thorniest complexities of contemporary reality.
  4. Live by Night
    Live by Night is a messy, unfocused movie about ambition, lost ideals, corrupt men and a thief whose idea of life on his own terms means pulling the trigger.
  5. Hidden Figures
    From one scene to the next, you may know more or less what is coming, but it is never less than delightful to watch these actors at work.
  6. A Monster Calls
    If you prefer to view dying as a natural part of life, a step in a cycle, this film will feel discordant and perhaps counterproductive. But visually it will certainly stick with you, and your children.
  7. Why Him?
    Why Him? is trite, crass and insultingly moronic.
  8. The Autopsy of Jane Doe
    Gruesome without being gory, The Autopsy of Jane Doe achieves real scares with a minimum of special effects.
  9. Julieta
    Julieta is scrupulous, compassionate and surprising, even if it does not always quite communicate the full gravity and sweep of the feelings it engages.
  10. Passengers
    Passengers increasingly succumbs to timidity and begins shrinking into a bland science-fiction adventure whose feats of daring and skill feel stale and secondhand.
  11. Sing
    The aggregate effect is like aesthetic insulin shock, albeit from an artificial sweetener.
  12. Assassin's Creed
    For an ostensible action movie, the cast spends an awful lot of time standing around and looking lost. I can only guess that they were following their director’s lead.
  13. Patriots Day
    My reservations about such pictures in general were not put to rest by Patriots Day, but this film’s real merits are not easily dismissed either.
  14. Short Stay
    As it drags along, the movie makes you feel trapped in the shoes of someone destined for failure.
  15. Two Lovers and a Bear
    The beauty and absurdity (things also get harrowing) don’t entirely compensate for the overheated romanticism in which the movie is grounded, but they do make Two Lovers and a Bear a nearly singular cinematic trek.
  16. Solace
    Staggeringly silly and visually disordered.
  17. The Wasted Times
    The Wasted Times plays like a movie carved out of a much larger mini-series, whose segments are then shown out of order.
  18. The Hollow Point
    The combined skills of the director, Gonzalo López-Gallego, and his cinematographer, José David Montero, can’t surmount a story that gives us no one to invest in.
  19. Ghostland: The View of the Ju/’hoansi
    This is an engaging movie depicting some sympathetic people, and is ultimately worthwhile. But there’s a one-dimensional quality to Ghostland; Mr. Stadler’s team obviously felt it was more important to record events than to explore conditions.
  20. The Ataxian
    The Ataxian has moments of inspiration, beauty, even euphoria. But its lasting contribution is in making the world a little more familiar with this disease, and a little less lonely for the families struggling against it.
  21. Barry
    The movie’s lived-in realism puts Barry on the ground, rather than in the air, where he experiences the usual coming-of-age agonies and joys.
  22. Neruda
    Mr. Larraín invites us to believe that history is on the side of the poets and the humanists, and that art will make fools of politicians and policemen. But he is also aware, as Pablo Neruda was, that history sometimes has other plans.
  23. Collateral Beauty
    Many of the words that I would like to use to describe this waste of talent and time...can’t be lobbed in a family publication. So, instead, I will just start by throwing out some permissible insults: artificial, clichéd, mawkish, preposterous, incompetent, sexist, laughable, insulting.
  24. Fences
    Even as it properly foregrounds Wilson’s dialogue — few playwrights have approached his genius for turning workaday vernacular into poetry — Fences is much more than a filmed reading. Mr. Washington has wisely resisted the temptation to force a lot of unnecessary cinema on the play.
  25. Rogue One: A Star Wars Story
    Plots and subplots are handled with clumsy expediency, and themes that might connect this movie with the larger Lucasfilm mythos aren’t allowed to develop. You’re left wanting both more and less.
  26. Sword Master
    This nostalgic nod to the Chinese magic-and-martial arts genre known as wuxia mixes love story and clan war with equal amounts of silliness and heart.
  27. The Brand New Testament
    Most of the humor is too lighthearted to offend all but the most reverent believers, and the movie’s inventiveness rarely flags.
  28. On the Map
    The movie makes no attempt to engage any current situation, basking instead in a one-dimensional nostalgia.
  29. Slash
    For a movie about proud outcasts, Slash is a little square.
  30. Lost and Beautiful
    Mr. Marcello tells a simple, touching tale that seems to contain a whole cosmos of meaning.
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