The New York Times' Scores

Select another publication »
For 20,324 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 20324
  2. Mixed: 8,449 out of 20324
  3. Negative: 2,467 out of 20324
20324 movie reviews
view
per page
  1. War Machine
    After a sluggish and chaotic start, War Machine finds its groove and becomes its own thing: a mordant, cleareyed critique of American war-making that is all the more devastating for being affectionately drawn.
  2. Love & Taxes
    If there aren’t many big laughs here, there are enough smiles to make the time pass pleasantly enough.
  3. The Settlers
    While any explanation of this fraught phenomenon feels like an oversimplification, Mr. Dotan sorts out the forces and personalities that shaped the movement.
  4. Ben-Gurion, Epilogue
    It conveys a satisfying, informative portrait of a well-read man who looks back at his life, good decisions and bad, with wisdom and intelligence.
  5. Badrinath Ki Dulhania
    If “Badrinath” ends up being less about female empowerment than about schooling gents on a cardinal rule, its pop comes from Ms. Bhatt.
  6. Who's Crazy? (1966)
    The movie, shot mostly in crisp, sometimes smoky black and white, is far better, a quirky but purposeful grafting of Mack Sennett to the French New Wave. Yet it’s the soundtrack that has the staying power.
  7. White Sun
    It shows how the lingering disputes of war ripple through lives after guns have ostensibly been laid down.
  8. School Life
    School Life is a loving portrait, primarily, of the inspirational educator couple, who command the respect of their students and always seem to know what a particular child needs to hear.
  9. Betting on Zero
    Even without an upbeat ending, though, Betting on Zero would be persuasive advocacy.
  10. First Man
    It reminds you of an extraordinary feat and acquaints you with an interesting, enigmatic man. But there is a further leap beyond technical accomplishment — into meaning, history, metaphysics or the wilder zones of the imagination — that the film is too careful, too earthbound, to attempt.
  11. Little Boxes
    It avoids the big confrontation or grand statement; doing so allows it to be an effective, if somewhat uneventful, study of the Brooklyn bubble effect.
  12. The Transfiguration
    Mr. Ruffin must carry the film, projecting interior activity and suggesting information where the script (by Mr. O’Shea) does not. That he imbues the film with a weight greater than its words is a testament to his skill as an actor.
  13. I, Olga Hepnarová
    Anchored by a startling performance by Michalina Olszanska, the Czech film “I, Olga Hepnarova” is an austere, hypnotic story of sadness, madness and murder.
  14. The Disaster Artist
    It’s a divertingly funny movie, but its breeziness can also feel overstated, at times glib and a bit of a dodge.
  15. Mean Dreams
    Nathan Morlando’s Mean Dreams may use a time-honored premise — young lovers on the lam (see: “Badlands”) — but it does so with such quiet, gently appealing assurance that it makes the template seem fresh again.
  16. Becoming Bond
    On the whole, Becoming Bond is sufficiently winning that you might even forgive its chapter titles, each one a worse-than-the-previous play on a James Bond-associated phrase
  17. Gemini
    What really interests Mr. Katz here are movies — the fingerprints of directors like Robert Altman, David Lynch, Michael Mann and Sean Baker are all on Gemini — and how they have shaped Los Angeles, or at least our ideas about it.
  18. The Work
    Opening an aperture into a process so ego-stripping that it feels unseemly to witness, The Work is enlightening yet also punishing.
  19. Caddyshack
    It's not as funny as "Cheech and Chong's Next Movie," but it is less pushy than "Meatballs." It is not as thickly stocked with outrageous moments as "Animal House," yet it is far easier to take than "Where the Buffalo Roam."
  20. A Woman, a Part
    Touching on issues of artistic survival and the porous boundary between work and pleasure, Ms. Subrin, an accomplished visual artist and filmmaker, sifts addiction, celebrity and the plight of the aging actress into something rarefied yet real.
  21. Battle of the Sexes
    A glib, enjoyable fictionalization of the 1973 exhibition tennis match between Billie Jean King and Bobby Riggs.
  22. Three Billboards Outside Ebbing, Missouri
    Everything fits together too neatly in “Three Billboards,” even when chaos descends, but the performers add enough rough texture so that it doesn’t always feel so worked.
  23. The Old Man & the Gun
    How much intensity and suspense can you drain from a movie about cops and robbers without having the thing collapse into anecdote and whimsy? The Old Man & the Gun kind of does just that, but it’s hard to mind too much.
  24. Band Aid
    Both leads are excellent together, and the movie is good at showing how Anna and Ben push each other’s buttons.
  25. Thank You for Your Service
    If, like its characters, Thank You for Your Service sometimes struggles to balance staying strong with wearing its heart on its sleeve, it makes an emotional plea in a direct, effective way.
  26. All This Panic
    All This Panic can feel glancing, its more painful revelations sliding in unheralded and slipping away just as quietly. What’s left is a dreamy diary of a time that passes so quickly yet impacts so profoundly.
  27. The Penguin Counters
    Here’s what sounds like one dud job: calculating bird populations in Antarctica. But here’s what that work has inspired: one swell documentary.
  28. Stronger
    Stronger takes more artistic risks than any other American-made “inspired by true events” picture I can recall.
  29. California Typewriter
    This quirky, obsessive documentary is about so much more than broken keys and busted type wheels. It’s really about how we create art.
  30. Polina
    If this film’s directors, Valérie Müller and the French choreographer Angelin Preljocaj, don’t offer much overt material on Polina’s inner life, it’s because they don’t have to: the point of Polina, and this movie, is that her dancing is her being.
Page:

Top Trailers

See all »
See all trailers »