The New York Times' Scores

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For 20,335 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: 9,412 out of 20335
  2. Mixed: 8,455 out of 20335
  3. Negative: 2,468 out of 20335
20335 movie reviews
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  1. The Fourth War
    Mr. Frankenheimer relies on standard touches at times, but he also fills The Fourth War with interesting little asides.
  2. Trick or Treat
    It's genial, not too frightening and even rather sweet.
  3. Sharkwater Extinction
    Stewart recounts how he thought that if his films could make people love these animals, he could push popular opinion against their being hunted. He doesn’t quite pull this off here, despite impressive footage of him swimming with sharks. He does, however, convince us that these superpredators are important to oceanic ecosystems and that because they are so indiscriminate in their eating habits, they are full of toxins.
    • 56 Metascore
    • 70 Critic Score
    Earthquake
    For those who have a soft spot for calamity pictures, there's a sense of ritual cleansing afterward. And for some reason, it also made me hungry.
  5. Free Solo
    Despite a somewhat soft middle section, Free Solo is an engaging study of a perfect match between passion and personality.
  6. Star 80
    Make no mistake about it: Miss Hemingway, a beauty who looks a lot like Miss Stratten, is not giving an impersonation but a true performance, as fully realized as the somewhat limited circumstances allow. There is an alertness, humor and intelligence to her work that immediately identifies her as one of our best young film actresses, someone who reinvents character in her own image rather than simply miming it.
  7. Ray & Liz
    Performed with absolute commitment by its cast (Justin Salinger and Ella Smith play the younger versions of the title characters), Ray & Liz is a quietly harrowing movie. Billingham risks tedium, though, in withholding anything like an inner life for any of its characters until the movie’s very end.
  8. C.H.U.D.
    C.H.U.D. makes no pretension toward serious theses about government or the environment. It is meant to be light commercial entertainment, and in the category of horror films it stands as a praiseworthy effort.
  9. Lone Wolf McQuade
    The plot, set in and around El Paso, is unimportant and nonstop, like an old-fashioned, Saturday afternoon serial, which isn't at all bad. Steve Carver, the director, understands that in such films action is content.
  10. Brainstorm
    However adversely it must have affected the morale of those involved in making Brainstorm, the death of Natalie Wood hasn't damaged the film. Her performance feels complete. Playing a more mature character than she had done before, Miss Wood brought hints of a greater sturdiness and depth to this role, which is pivotal but relatively small.
  11. The Rest I Make Up
    Try as it might, sadness still can’t get the best of The Rest I Make Up, a lyrical and lovingly made documentary about the playwright María Irene Fornés, which recalls her career and follows her over several bittersweet years as Alzheimer’s steals her memories.
  12. Kusama - Infinity
    Kusama — Infinity, while conventionally structured, provides ample, illuminating access to an artist’s way of thinking and working.
  13. Serial Mom
    Mr. Waters, of course, no longer traffics in the truly vulgar, as he did in early films like Pink Flamingos. With Serial Mom he concocts a cute suburban satire, a warmly funny movie that even a mother could love.
  14. The Mountain
    Like Alverson’s 2015 character study, “Entertainment,” The Mountain sets forth a profoundly anhedonic vision of America — and humanity — that’s simultaneously upsetting and mesmerizing.
  15. They'll Love Me When I'm Dead
    Neville was inspired by Josh Karp’s engrossing book “Orson Welles’s Last Movie,” which goes into greater detail than Neville can in 98 minutes. Karp also pays closer attention to Welles’s artistic process, which in the documentary can seem little more than pure chaos.
  16. Let's Spend the Night Together
    The classiest of concert movies, even if that sounds as if it ought to be a contradiction in terms. As photographed by Gerald Feil and Caleb Deschanel (of ''The Black Stallion''), it looks glorious, particularly in the opening sequences at an outdoor arena.
  17. Moynihan
    If anything, Moynihan leaves you wanting to watch more of the man. Perhaps too immersed in numbers for politics and too much of a dabbler for academia, he was also a showman — and therefore a natural movie subject.
  18. Garry Winogrand: All Things are Photographable
    Informative but not overwhelming, it blends biography and appreciative analysis in 90 brisk, packed minutes.
  19. Chef Flynn
    Chef Flynn is an engaging documentary about McGarry’s boy-to-man journey.
  20. Nelly
    The character Ms. Émond and Ms. Mackay create is not likable, but is puzzling in an engrossing way. I am not sufficiently familiar with Ms. Fortier’s work to weigh in on how accurately this film represents it, but as an act of complex homage, “Nelly” gets to a few interesting places.
  21. Hotel by the River
    Hotel by the River is — surprisingly, from the standpoint of a skeptic — one of Hong’s most unexpectedly poignant works, self-reflexive in a way that feels searching rather than rote.
  22. Too Late to Die Young
    Too Late to Die Young is above all an achievement in mood and implication. Sotomayor has a way of structuring scenes and composing images that makes everything perfectly clear but not obvious.
  23. Walking on Water
    We spy on an artist who races around like a mad scientist, and who seems comically befuddled by technology. His passion is genuine, as is his sense of wonder.
  24. The Great Buster: A Celebration
    The film presents a compact, tactful biography and also a valuable explication of the Keatonesque in its most sublime varieties. Coming ahead of a digital restoration of Keaton’s major films, it serves as both a primer and refresher, as well as a promise that he will not be forgotten.
  25. The Trouble with Harry
    It is not a particularly witty or clever script that John Michael Hayes has put together from a novel by Jack Trevor Story, nor does Mr. Hitchcock's direction make it spin. The pace is leisurely, almost sluggish, and the humor frequently is strained. But it does possess mild and mellow merriment all along the way.
  26. Reversing Roe
    It’s less interested in rendering a verdict on the morality of abortion than it is in tracing the increasing politicization of the issue.
  27. J.T. Leroy
    Anchored by its two excellent leads, the movie is sympathetic and, for the most part, unsentimental.
  28. Starting Over
    Starting Over depicts an abandoned man in all his misery, and still manages to be fast and funny while it breaks new ground.
  29. Breathless
    Breathless has a lot of mindless drive, but it's also funny. It's full of knowing quotes from other movies and from literature - William Faulkner in addition to Marvel Comics. It's less a film maker's journey of discovery than the film maker's testimony to his awareness of ''cinema,'' and sometimes it's just too much.
  30. Best Friends
    Even when Best Friends isn't working uproariously as a comedy, there's an element of original, offbeat humor that keeps it promising.
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