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. Come As You Are
    It softens the cruder edges of the original, but the candor with which Erik Linthorst’s script regards the characters’ sexual desires — coupled with the winning performances of the actors — leavens any sentimentalism.
  2. Extra Ordinary
    While Extra Ordinary overextends its ghosts-are-blasé conceit, Higgins and Ward are appealing leads, and the movie has plenty of charming moments, such as Rose watching an episode of her dad for guidance.
  3. Mickey and the Bear
    A sturdy, watchable character drama.
  4. The Peanut Butter Falcon
    Gottsagen is a disarming performer who creates a sweet and funny character.
  5. Saint Frances
    With a warm heart and a nonjudgmental mind, Saint Frances weaves abortion, same-sex parenting and postpartum depression into a narrative bursting with positivity and acceptance.
  6. Yes, God, Yes
    Burdened by a silly R rating that may deter the very youngsters who are likely to enjoy it most, Yes, God, Yes (written and directed by Karen Maine) fights back with an appealing lead and an overwhelmingly innocent tone.
  7. Everybody's Everything
    An engaging account of Peep’s life and the alt-music scene.
  8. #Female Pleasure
    [An] illuminating if one-sided overview of the myriad ways in which women’s sexuality is controlled and subjugated.
  9. Vision Portraits
    Despite its focus on as fluid and mysterious a subject as art, Vision Portraits addresses blindness in concrete, comprehensible terms.
    • 69 Metascore
    • 70 Critic Score
    Opening Night
    Opening Night is a reminder of what has made Mr. Cassavetes's films so appealing, and of what can make them so maddening, too. For all its length -- nearly two and three-quarter hours -- it's a relatively thin example of the director's work, but a mischievous and inviting one, too.
    • 90 Metascore
    • 70 Critic Score
    The Circus
    There are passages in The Circus that are undoubtedly too long and others that are too extravagant for even this blend of humor. But Chaplin's unfailing imagination helps even when the sequence is obviously slipping from grace.
  12. The Russian Five
    Riehl gears his documentary more toward avid fans than casual viewers, though he nods to the human side of story.
  13. Starfish
    If White’s wild formal experimentation and narrative cul-de-sacs result in a strange identity crisis for the film — a sense that he wasn’t entirely sure which movie he wanted to make — Gardner’s stellar work unifies it.
  14. The Most Dangerous Year
    While The Most Dangerous Year can be intensely personal — Knowlton speaks of the pain she felt watching visitors to a strawberry festival sign the petition for the anti-transgender ballot measure — it is primarily an informational documentary, not a film with artistic pretensions. But it makes its case effectively.
  15. Wild Rose
    First and foremost, the movie, written by Nicole Taylor and directed by Tom Harper, is a superb showcase for Jessie Buckley. Doing her own singing, Buckley is a rich, startling vocalist who if anything seems to under-excite the crowds she performs for.
  16. The Perfection
    This is a filmmaker aware of the conventions, who wields them with wit and precision and knows his audience is on the gag as well. In many ways, The Perfection amounts to little more than a bag of tricks. But no one is pretending otherwise. And they’re good tricks.
  17. Midnight Traveler
    What largely distinguishes Midnight Traveler is its anxious intimacy, a sense of uneasy closeness that pulls you into a family circle that at times gets very small, creating a sense of appropriate claustrophobia.
    • 74 Metascore
    • 70 Critic Score
    See You Yesterday
    Although the film doesn’t sugarcoat the horrors of police brutality, it does empower C.J. to think she has invented a loophole around it. That is the dream worth cherishing.
  19. Hyenas
    Even done so lightly, the film still carries a sting.
  20. Come to Daddy
    Absurd yet bold, lurid yet a tiny bit touching, Come to Daddy drags poor Norval from hopefulness to horror to a wickedly literal form of closure. More than a few audience members might even be happy to accompany him.
  21. Recorder: The Marion Stokes Project
    “Recorder” doesn’t explore the extent to which Marion’s original project of analysis was subsumed by the compulsion to tape everything. But her taping of everything created an irreproducible archive that is enlightening and the stuff of madness.
  22. Decade of Fire
    Decade of Fire is at its best when showing how the fires affected individuals effectively left to fend for themselves.
  23. Rewind
    For the director, putting family members on camera clearly had a therapeutic value. Witnessing that unburdening feels almost ancillary, even intrusive. But Rewind could only be made by this filmmaker in this way, and that gives it an unsettling fascination.
  24. Gay Chorus Deep South
    The documentary is able to record only small, not sweeping, changes of heart. Nevertheless, the film, like the singers, maintains a compassionate optimism.
  25. Ready or Not
    It’s Weaving who gives this blunt satire of class warfare a heart.
  26. Echo In the Canyon
    The delight of Echo in the Canyon is in the delicious details its subjects impart.
  27. Toni Morrison: The Pieces I Am
    It’s less a biography than an extended essay, which is entirely a good thing. If you want a thorough documentation of everything Morrison has done and everyone she knows, there’s always Wikipedia. But if you’d prefer an argument for her importance and a sense of her presence, then you won’t be disappointed.
  28. Bedtime Story
    Mark this one down as good, crisp fun.
  29. The Spy Behind Home Plate
    There’s much to absorb throughout “The Spy Behind Home Plate,” and sometimes details speed by too fast or digressions go on a bit long. Still, Kempner’s passion for her remarkable subject is always evident.
    • 63 Metascore
    • 70 Critic Score
    We Have Always Lived in the Castle
    Under Stacie Passon’s precise direction, this gothic fable of isolation and violence expertly treads a fine line between tragedy and camp.
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