The New York Times' Scores

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For 20,323 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: 9,408 out of 20323
  2. Mixed: 8,448 out of 20323
  3. Negative: 2,467 out of 20323
20323 movie reviews
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  1. Virus of Fear
    Ventura Pons’s stagy drama Virus of Fear tries to walk a thin line about its volatile subject — child sexual abuse — as it weighs a man’s possible innocence against a mob’s rage. But its attempts at ambiguity work against it.
  2. Marguerite & Julien
    The excruciating experience of Marguerite & Julien need only be endured by viewers with an obsessive interest in the least constructive aesthetic currents in contemporary French cinema.
  3. Paul Verhoeven's Tricked
    As ever, the paradox of Mr. Verhoeven’s style is that it seems to wallow in tastelessness and transgression even as he remains one of the most classical movie craftsmen.
  4. A Strange Course of Events
    Mr. Nadjari, who wrote the screenplay with Geoffroy Grison, may have been intending a minimalist character study, but even so, he has abdicated his responsibility: Too much of this family drama is left to the audience to fill in.
  5. Like for Likes
    Relationships unfold with a bright, glossy and antiseptic sentimentality in Park Hyun-gene’s Like for Likes, which brings abundant social media usage to shopworn rom-com contrivances.
  6. The Last Man on the Moon
    You already know the history told in The Last Man on the Moon, but this story just never grows old.
  7. King Georges
    King Georges feels stretched into feature length, but its ending neatly portrays a man with a fierce personal code who seems to have accepted change.
  8. Jack of the Red Hearts
    Jack of the Red Hearts is so good-hearted it doesn’t want to leave audiences without a glimmer a hope.
  9. Backtrack
    The film is part psychological thriller, part horror movie, and the horror elements deliver some solid frights. Mr. Brody isn’t asked to stretch much, but he does his usual thing adroitly.
  10. Eddie the Eagle
    This film doesn’t seem to trust the inherent likability of his story. The director, Dexter Fletcher, and the writers, Sean Macaulay and Simon Kelton, load it up with tropes that actually make it less endearing.
  11. Gods of Egypt
    If Gods of Egypt were any worse, it might be a masterpiece.
  12. Triple 9
    Mr. Hillcoat wears his nihilism easily and persuasively (his films include “The Road”), so his weird bids at mordant comedy feel as forced as they are ill-considered.
  13. The Mermaid
    While second-guessing the marketing strategies of movie conglomerates is happily not the concern of this reviewer, it does seem a shame that this exhilarating, bizarre, good-hearted, blatantly obvious sci-fi-fantasy-slapstick eco-fable isn’t getting wider fanfare.
  14. Forsaken
    A starry father-son pairing is largely squandered in Forsaken, an old-school western that is a little too old school for its own good.
  15. Rolling Papers
    It’s full of discussion points but lets them go by undiscussed.
  16. We Are Twisted F***ing Sister!
    The movie tells an incomplete version of the band’s story...but provides a comprehensive and sometimes harrowing portrayal of the grind a working bar band in the 1970s had to endure to get by.
  17. The Witch
    With a gentle rap-rapping, Mr. Eggers intensifies the shivers with art-film moves, genre shocks and an excellent cast that includes a progressively rowdy menagerie.
  18. Diamond Tongues
    The prickly tone is a difficult balancing act, and Diamond Tongues may settle for being a softer-hearted film than its most cynical scenes portend. But it has a palpable affection for Toronto’s cultural scene and for Ms. Goldstein.
  19. Risen
    If you drink every time you’re reminded of Monty Python’s 1979 Judean jaunt, “Life of Brian,” you might just make it through to the end.
  20. Snowtime!
    It is aimed at younger children and includes pretty songs, but it doesn’t soft-pedal anything. Its low-key story is about friendship, but it’s also about loss, which should leave pint-size viewers with plenty to think about.
  21. Embrace of the Serpent
    Viewed largely through the aggrieved eyes of a shaman whose tribe is on the verge of extinction at the hands of Colombian rubber barons in the 19th and 20th centuries, Embrace of the Serpent, a fantastical mixture of myth and historical reality, shatters lingering illusions of first-world culture as more advanced than any other, except technologically.
  22. Race
    If Race is a standard inspirational biopic that exalts the legend of an athletic hero, at least it doesn’t soft-pedal the racism that Owens encountered at every turn.
  23. Already Tomorrow in Hong Kong
    The two stars are attractive, and Emily Ting, who wrote and directed, makes the city look great, but during their endless strolling Ruby and Josh never get much beyond shallow banter.
  24. Bad Hurt
    Throughout, the filmmakers live up to the movie’s title. But as the story comes to a close, they opt to wrap it in comforting cliché, and they turn a miserable but credible viewing experience into a confounding one.
  25. Fitoor
    Based, sometimes loosely, sometimes carelessly, sometimes pointlessly, on “Great Expectations,” the Hindi movie Fitoor is at all times more Bollywood than Dickens.
  26. Cabin Fever
    Who benefits from the existence of this film? Certainly not the largely bland ensemble of post-adolescent actors cast as the leads, who here can scarcely be called characters. Possibly the day players essaying those stock grotesques, who retain the air of being hungry for work.
  27. Touched With Fire
    Touched With Fire is an actor’s field day, and both Mr. Kirby and Ms. Holmes boldly meet the challenge of playing bright, high-strung artists struggling with depression.
  28. Glassland
    There’s much in the movie to admire until it runs headlong into a stone wall.
  29. Mountains May Depart
    Mr. Jia’s approach means that you have to do a certain amount of interpretive work, though mostly you just have to pay attention and be a little patient. If you do, you will notice that Mountains May Depart is a movie of threes: its main characters, moments in time, narrative sections, historical symbols and even aspect ratio come in triplicate.
  30. A War
    The conclusion would be chilling if it weren’t so reserved. For Denmark, the film, an Oscar nominee in the foreign-language category, might seem quietly radical, but Mr. Lindholm errs too far on the side of quiet.
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