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 Last Tree
    The film feels at times like it is trying to take on too much — plotlines are rushed, relationships feel unearned or not explained. Still, I can’t help but be impressed by Amoo’s attempts to direct a familiar narrative with such a complicated set of questions.
  2. Paris Blues
    Paris Blues is a small movie with large ambitions.
  3. The Comancheros
    So studiously wild and woolly it turns out to be good fun.
  4. Tell Me Who I Am
    Their moment of resolution at the end is very moving, but the movie also testifies that while love and forgiveness can ameliorate suffering, it can’t really wipe it all away.
  5. Nosferatu the Vampyre
    Herzog's film seems well worth the effort to me. It's funny without being silly, eerie without being foolish and uncommonly beautiful in a way that has nothing to do with mere prettiness.
  6. Bombshell
    Part of what works in the movie is that it does a good job of presenting the ordinary assaults that women, even those with great privilege, can endure simply to get through a day, including dehumanizing “compliments.”
  7. The Black Hole
    The Black Hole is attractively unpretentious and at times quite snappy.
  8. Serendipity
    It seems best to view Serendipity as one component of a much bigger project (a book on Nourry’s work with the same title was published in 2017) — a body of work in which life and art are inseparable.
  9. That Darn Cat!
    The color is good and Bobby Darin warbles a song at the start that may be amusing to humans but would probably fill Felix with disgust. Anyhow, it's an entertaining picture.
  10. Watson
    The movie can be frustratingly deferential toward Watson, but it is never less than urgent.
  11. Honey, I Blew Up the Kid
    If the new film doesn't exude quite as much fairy-tale magic as the original, it is still a thoroughly entertaining family romp.
  12. The Apollo
    While “The Apollo” itself might have taken a more inventive approach, it derives its power from the artistry it captures.
  13. To Kid or Not to Kid
    Candid and empathetic, the movie’s segments can feel rushed and unfocused; yet they have a ragged intimacy that argues implicitly for an individual’s right to choose, without interference or condemnation.
    • 61 Metascore
    • 70 Critic Score
    Swiss Family Robinson
    The Robinsons, their island and Mr. Disney have made a real Christmas contribution for any family.
  15. Ip Man 4: The Finale
    There is no mystery about who wins the movie’s final bout, but it is never less than thrilling to watch Yen’s fluttering limbs in action.
  16. James and the Giant Peach
    A technological marvel, arch and innovative with a daringly offbeat visual conception. But it's also a strenuously artful film with a macabre edge that may scare small children. And beyond that, it lacks a clear idea of who its audience might be.
  17. The Daytrippers
    The main action of The Daytrippers is bright, real and even poignant enough to make this journey worth the ride.
    • 62 Metascore
    • 70 Critic Score
    Night of the Creeps
    Beyond it's obviously derivative inspiration, the film shows a fair ability to create suspense, build tension and achieve respectable performances.
  19. Candyman
    The film's spooky atmosphere is accentuated by Anthony B. Richmond's cinematography and Philip Glass's score. Ms. Madsen's performance is a lot more enterprising than what the material requires; the same can be said for Mr. Rose's direction.
  20. The Craft
    A surprisingly skittish fable of adolescent powerlessness, grandiosity and the nursing of psychic wounds. As the witchcraft escalates, the movie exchanges its psychological acuity for garish special effects that hammer home a ponderous warning to once and future witches: be good or else.
    • 68 Metascore
    • 70 Critic Score
    Bikram: Yogi, Guru, Predator
    This haunting documentary is a powerful addition to a growing body of post #MeToo films — including “Finding Neverland” and “Surviving R. Kelly” — that show how cultural power is accumulated and weaponized.
  22. Emma.
    Austen’s story and words, it turns out, prove unsurprisingly durable and impervious to decorative tweaking. And so, after a while, the Anderson-ish tics become less noticeable, and both the emotions and overall movie more persuasive.
  23. After Parkland
    After Parkland is not easy to watch, and certain choices (of images, of music) could be construed as calculated. But the movie succeeds where it counts: showing the reverberations of violence long after most cameras left.
  24. My Friend the Polish Girl
    Shot mostly in black and white and with an improvisational feel, My Friend the Polish Girl is cool and clever, feigning social realism with winking calculation.
  25. Deadly Friend
    Deadly Friend is stylish and sardonic enough to offer horror fans some knowing laughs and a pleasant relief from shrieking.
  26. Slaughterhouse-Five
    A wild, noisy, sometimes very funny film that eventually becomes as unstuck in its own exuberance as its hero, Billy Pilgrim, the Illium, N. Y., optometrist, is unstuck in time.
  27. Togo
    When Togo gets going, it goes.
  28. Inherit the Viper
    As the movie heads for its quietly ghastly denouement, its plot mechanism gets a little wobbly, which is ultimately forgivable. It’s a genuinely tough picture, but it also has a real undercurrent of compassion.
  29. Slay the Dragon
    Slay the Dragon is not short on outrage, and just because some of this material is not new doesn’t mean it’s not worth repeating.
  30. Afterward
    The resulting emotions are complex, and Bloch, here directing her first feature, can be excused for allowing a few of the scenes to stray. But by the end of the documentary, she and many of her subjects posit that it’s possible to learn from history and to change, and to trust each other a little more.
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