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. Us Kids
    Us Kids skillfully handles a sensitive subject and prudently connects the Parkland students’ stories to those of Black students whose experiences with gun violence rarely garner similar national attention.
  2. Lucky Grandma
    The director Sasie Sealy’s feature debut has style and keenly observed visual humor. Each scene is paced as perfectly as a punchline.
  3. Falling in Love
    At the very least, a warmly old-fashioned soap opera with several significant new twists. And for all its flaws, Falling in Love is one of those ordinary-seeming modern films that present unremarkable characters in the throes of all-too-familiar contemporary crises. When films in this genre succeed fully and realistically in mirroring the audience's concerns, they aren't ordinary at all. [09 Dec 1984, p.21]
    • The New York Times
  4. Tesla
    You might not learn everything there is to know about Tesla — that’s what the internet is for — but you will nonetheless feel illuminated by his presence.
  5. Streetwalkin'
    Streetwalkin' isn't exactly full of surprises. But it certainly moves.
  6. The Wretched
    Blessed with shivery setups and freaky effects — here, skin-crawling is literal — The Wretched transforms common familial anxieties into flesh, albeit crepey and creeping.
  7. Untouchable
    A respectable and all-too-real introduction to a chilling chapter of a Hollywood horror story.
  8. Paris Is Burning
    Miss Livingston's interviews reveal a way of living that is both highly structured and self-protective.
  9. Gordon Lightfoot: If You Could Read My Mind
    Lightfoot is frank about sizing up that work — the movie opens with him expressing disdain for the sexism of his early hit “For Lovin’ Me” — and he’s refreshingly up-to-date in his perspectives about today’s music.
  10. The Flamingo Kid
    Even if The Flamingo Kid comes out of sit-com country, the character and the performance effortlessly rise above their origins.
  11. After Yang
    With eyebrow flicks, tiny physical modulations and shifts in pitch, Farrell movingly turns a shadow into a recognizable person, while also bringing much-needed humor to the movie.
  12. The Souvenir: Part II
    Hogg’s filmmaking presents its own forceful draw and is the reason I watched Souvenir Part II again.
  13. Fool for Love
    Fool for Love has several exceptional things going for it, namely the performances by Mr. Shepard as Eddie, Kim Basinger as May and Harry Dean Stanton as the Old Man.
  14. Working Man
    An unconventional labor story, the movie doesn’t bask in the triumph of rebellion; instead, it’s an introspective portrait of men for whom working is a replacement for living.
  15. My Life as a Dog
    The trouble with My Life as a Dog is that too often it imposes an alien sensibility upon the boy, requiring that he behave in a way that adults can too easily identify as charming. My Life as a Dog is a movie with a split point of view.
  16. Changing the Game
    Changing the Game could have gone further, analyzing how fairness in sports is a myth to begin with. But the movie isn’t interested in rewriting the rules; it would rather introduce us to the brave young people who are.
  17. Uncorked
    While the characters interact against the backdrop of varying degrees of racism and socioeconomic stressors, they are not defined by them. In other words, they are ordinary but no less noteworthy.
  18. Dreamscape
    An enjoyably half-baked movie, and if it were any less farfetched it would be less fun.
  19. Why Don't You Just Die!
    Sokolov’s debut feature is a clever, bloody as hell, often hilarious virtuoso exercise in excruciating harm-doing among mendacious people.
  20. The Brother from Another Planet
    The Brother From Another Planet, set in major part in Harlem, means to be fantastic as well as funny and satiric, and from time to time, it is each of these things. Mostly, though, it's a nice, unsurprising shaggy-dog story that goes on far too long.
  21. The Last Vermeer
    The film moves from detective story to courtroom drama with nicely sketched character studies as a bonus.
  22. Last and First Men
    Johannsson’s stark, uncompromising passion project is always striking to the eye even in moments when the narrative lulls.
  23. Minyan
    The film allows its societies to speak through gestures, whether it is the passing of personal possessions after a death or the brush of bodies behind a bar, and its portrait of both Jewishness and queerness is richer for it.
  24. Siberia
    I can’t think of other actors at his level who could keep a sense of true north in a nonlinear story like this, from bear scene to sex scene to earnest confrontations, amid quotations from St. Augustine and Nietzsche.
  25. Charlatan
    Often as thorny as its subject but also oddly fascinated by his near-magical abilities, “Charlatan” is a temporary cure for the common biopic.
  26. A Soldier's Story
    Mr. Jewison, filming mainly at Fort Chaffee, Ark., has opened up the play by using such interiors as the bar where the troops hang out and exteriors on and around the base. But perhaps most commendably, he has let Mr. Fuller's drama speak for itself, applying the skills of a film maker to polish the facets that lent such substance to the drama.
  27. Micki + Maude
    The director, the star and the writer make a fine team in this often riotous tale.
  28. Protocol
    Protocol is a breezy, not entirely unpredictable comedy that was made to order for the gifted Goldie Hawn by Buck Henry, the writer, Herb Ross, the director, and Miss Hawn herself, who is the film's executive producer. [21 Dec 1984, p.C25]
    • The New York Times
  29. Mona Lisa
    NEIL JORDAN'S Mona Lisa is classy kitsch. It's as smooth and distinctive (and, ultimately, as insubstantial) as the old Nat (King) Cole recording of the song, which gives the film its title and a lot of its mood. It's also got high style, so you needn't hate yourself for liking it.
  30. Sublet
    Though far from the gold standard of “brief encounter” dramas like Andrew Haigh’s “Weekend,” Sublet nevertheless wins you over with its subtle charm and its mellow depiction of two men forging an unexpected connection.
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