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. Lazy Eye
    Written and directed by Tim Kirkman (“Dear Jesse,” “Loggerheads”), Lazy Eye has realistic dialogue and believable performances by its stars. But unless you consider subjects like saltwater swimming pools and the movie “Harold and Maude” fascinating topics, “Lazy Eye” has little to say.
  2. Disturbing the Peace
    Their stories are compelling — and persuasive.
  3. Come and Find Me
    The writer-director Zack Whedon toggles his plot between “Out of the Past” and “Three Days of the Condor” with highly mixed results before letting loose with a hilariously unconvincing climactic reveal.
  4. Dreamland
    It’s a smart, understated sex comedy, a description that suggests a certain maturity. You’d never suspect it was the first feature from its director, Robert Schwartzman.
  5. Asperger's Are Us
    Asperger’s Are Us rarely stretches to be funny or poignant or touching, and that makes this documentary all the more of each.
  6. The Anthropologist
    At this point no documentarian can possibly have a fresh take on climate change, right? Wrong. The Anthropologist, a stealthily insightful film by Seth Kramer, Daniel A. Miller and Jeremy Newberger, improbably mixes that topic with a mother-daughter story to produce a distinctive study of change and human adaptability.
  7. National Bird
    [An] elegantly unsettling documentary.
  8. The Monster
    Part of the ticklish enjoyment in The Monster is how the director, Bryan Bertino (“The Strangers”), plays with genre registers and how, after opening with disquieting stillness and an isolated child, he slowly yet surely turns up the shrieks.
  9. Almost Christmas
    The family comedy-drama Almost Christmas is an often disarmingly entertaining picture, in spite of its being a not particularly well-thought-out cinematic contrivance.
  10. Elle
    It’s a psychological thriller, a strangely dry-eyed melodrama, a kinky sex farce and, perhaps most provocatively, a savage comedy of bourgeois manners. Mostly, though — inarguably, I would say — it is a platform for the astonishing, almost terrifying talent of Isabelle Huppert.
  11. Arrival
    Arrival isn’t a visionary movie, an intellectual rebus or a head movie; it’s pretty straight in some respects and sometimes fairly corny, with a visual design that’s lovely rather than landmark.
  12. Billy Lynn's Long Halftime Walk
    The satire may be a little too gentle, but there is something disarmingly tender about the way Mr. Lee dramatizes young Billy’s predicament. You may be surprised at how sweet this movie is and also, in retrospect, startled by how bleak its vision turns out to be.
  13. Ivory. A Crime Story
    This roughly constructed yet passionate documentary isn’t shy about showing the massacre of elephants or about calling out the groups implicit in the killings. That bluntness and courage usually overrides the uneven filmmaking.
  14. Dog Eat Dog
    Dog Eat Dog is a movie that wants everyone off its lawn, but only after they’ve had time to appreciate that said lawn is way more nihilistic than their own.
  15. Peter and the Farm
    It is the film’s cosmic dimension that makes it so special.
  16. We Are X
    [A] fascinating and assured documentary.
  17. My Dead Boyfriend
    My Dead Boyfriend desperately tries to look and sound like a quirky indie hit, but that’s not an achievable goal when you have an unlikable lead character indifferently rendered by a name star.
  18. Rainbow Time
    Much of this is funny and even perceptive about the nooks and crannies of adult sexual relationships. It’s also very well acted.... But something feels off.
  19. The Prison in Twelve Landscapes
    Ms. Story’s unconventional approach provokes responses that a traditional facts-and-figures discussion might not. Yet the film’s formal abstraction, far from creating emotional distance, is unexpectedly moving.
  20. Trolls
    Exuberant, busy and sometimes funny, DreamWorks Animation’s Trolls is determined to amuse.
  21. Loving
    Mr. Nichols’s most distinct aesthetic choice is the movie’s quietness and the hush that envelops its first scene and that eventually defines the Lovings as much as their accents, gestures, manners and battles.
  22. The Ivory Game
    While more information on the animals and their ecosystems is needed, the stakes described here are immense, as is the sorrow over majestic creatures massacred only so that their tusks can be made into baubles.
  23. Trash Fire
    I didn’t think I had see a worse fiction film this year than that other failed American Guignol, “Clown.” I may have been wrong.
  24. The Pickle Recipe
    Hilarity is supposed to ensue, but the script, by Sheldon Cohn and Gary Wolfson, is tepid stuff, and Michael Manasseri, the director, doesn’t find a way to enliven it.
  25. Doctor Strange
    The space-and-time warping and mirrored realities in Doctor Strange are a blast. They’re inventive enough that they awaken wonder, provoking that delicious question: How did they do that?
  26. The Eagle Huntress
    Viewers jaded by daily doses of digital dazzlement might not fully register the reality of the wonders they are witnessing. But that doesn’t, in the end, make The Eagle Huntress any less wonderful.
  27. Don't Call Me Son
    The narrowness of its perspective and its relatively brief 82-minute length disappoint. Yet Don’t Call Me Son still manages to be a fascinating, sympathetic portrait of a lost boy abruptly thrown to the wolves.
  28. Hacksaw Ridge
    Desmond Doss was calm, humble and courageous, qualities Mr. Gibson honors but does not share. It is possible to be moved and inspired by Desmond’s exploits while still feeling that his convictions have been exploited, perhaps even betrayed.
  29. You've Been Trumped Too
    As a filmmaker, Mr. Baxter often tends toward needless force-feeding.
  30. The Greasy Strangler
    Its willful determination to be outré proves its undoing.
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