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. A Minecraft Movie
    There’s something almost refreshingly bold in the full-tilt inanity here — in taking a blockbuster budget and embracing idiocy, as if to knowingly say, “I mean, it’s a Minecraft movie.”
    • 63 Metascore
    • 70 Critic Score
    The Vampire Lovers
    The Vampire Lovers, praise be, does manage to be a departure from a hackneyed, bloody norm. It also is professionally directed, opulently staged and sexy to boot.
  3. Freedia Got a Gun
    Freedia’s beguiling charisma carries the film, and it makes the case that her impressive power, in conjunction with collective action, could help carry a movement, too.
  4. The Goddess of Fortune
    The details of this engaging and sometimes heart-tugging picture are entirely contemporary.
  5. Dead of Winter
    The screenplay is inelegant but lively, and the direction gives the material a wicked edge.
    • 77 Metascore
    • 70 Critic Score
    The Masque of the Red Death
    The film is vulgar, naive and highly amusing, and it is played with gusto by Mr. Price, Hazel Court and Jane Asher. As for Mr. Corman, he has let his imagination run riot upon a mobile decor singular for its primary color scheme. The result may be loud, but it looks like a real movie. On its level, it is astonishingly good.
  7. Hard Target
    Mr. Woo's obvious gusto and his taste for myth making are readily apparent. But so is his fondness for the slow, lingering death scene coupled with sickening sound effects. Presenting Mr. Van Damme as reverentially as Sergio Leone did the young Clint Eastwood, Mr. Woo displays a real aptitude for malignant mischief, which is this story's stock in trade.
  8. Coming Home Again
    Wang — using a direct, unadorned shooting style — along with his cast (Justin Chon, who’s been around for some time, makes a strong impression as Chang-rae) put them across with unusual integrity.
  9. Citizen Penn
    Sean Penn’s work in Haiti after its devastating 2011 earthquake continues to this day. And this new documentary Citizen Penn is a revealing, engaging chronicle of the actor’s activism.
  10. Crazy, Not Insane
    Dr. Lewis is an engaging interview subject whose clarity and upbeat demeanor contrast strikingly with the macabre material. Her writings are read as voice-overs by Laura Dern. Dr. Lewis has also kept an excellent archive.
  11. Crock of Gold: A Few Rounds with Shane MacGowan
    The director Julien Temple — who has excellent documentaries on the Sex Pistols, Joe Strummer and other galvanic musicians under his belt — is very good at this sort of thing.
  12. Madre
    The result is an unusually compelling character study, one that, commendably, opts to end on a humane note rather than a dark judgment.
  13. Rams
    Directed with a genial breeziness by Jeremy Sims, the movie negotiates emotional downshift and uplift with confidence.
  14. Cherry
    Whether they’re comfortable owning up to it or not, the Russos are better moviemakers than their Marvel movies (the most recent of which was the gargantuan hit “Avengers: Endgame”) allow them to be. They demonstrate that here. Holland, also a veteran of the superhero mode of cinema (he’s Spider-Man these days) shows performing chops that web-slinging doesn’t often let him flex.
  15. Farewell Amor
    Even as Farewell Amor treads familiar paths, its tripartite structure allows for uncommon nuance.
  16. Koko-di Koko-da
    Though at times tasteless and barely coherent, the story is oddly affecting, the very strangeness of Nyholm’s folkloric vision and its unnerving execution pulling you in.
  17. Blue Bayou
    Beautifully relaxed family scenes help us forgive the ponderous direction.
  18. The Day of the Locust
    Its grossness—its bigger-than-life quality — is so much a part of its style (and what West was writing about) that one respects the extravagances, the almost lunatic scale on which Mr. Schlesinger has filmed its key sequences.
  19. Coded Bias
    The most cleareyed of several recent documentaries about the perils of Big Tech (“The Great Hack,” “The Social Dilemma”), Coded Bias tackles its sprawling subject by zeroing in empathetically on the human costs.
  20. Little Fish
    Once you’re swept up in Emma and Jude’s romance — it’s not hard, even though the montages veer a little too precious — the skimmed-over science matters little. This is sci-fi rooted more in feelings than fact. Its resonance is similar to “Eternal Sunshine of the Spotless Mind” though it’s arguably antithetical in plot.
  21. Free Time
    The sound effects are emphatic enough to call attention to themselves, and serve as a tacit, admirable acknowledgment that this material has been shaped. Even so, some of the clatter distracts from the purity of these great images.
    • 61 Metascore
    • 70 Critic Score
    The Anderson Tapes
    In Sidney Lumet's The Anderson Tapes the quality of professionalism appears in rather lovely manifestations to raise a by no means perfect film to a level of intelligent efficiency that is not so very far beneath the reach of art.
  23. The Offence
    The revelations explode predictably, like the ingredients of a 24-hour cold capsule, but the dramatic impact is real while one is watching it.
  24. Safety
    Hudlin transforms a film that would be, in lesser hands, a formulaic hardship-as-aesthetic drama, into an earnest examination of what community means on the field, in the classroom and in our society.
  25. Robin and Marian
    Robin and Marian is a hybrid movie, one that seems embarrassed by feelings; yet it works best when it admits those feelings, when it plays them straight.
  26. A Fine Madness
    Like its careening, footloose hero, A Fine Madness needs discipline. But you'll never guess what lurks around the bend, from gold to brass.
  27. Cemetery
    Cemetery is primarily a slow and lovingly detailed immersion in the sights and sounds of the jungle and the mahout’s devoted attention to his animal.
  28. The Twentieth Century
    Is it all a bit much? Sure, but the self-consciousness is baked in: Rankin names one public gathering place “Disappointment Square.”
  29. A Bridge Too Far
    The movie is massive, shapeless, often unexpectedly moving, confusing, sad, vivid and very, very long.
  30. Cuba
    Though a lot of the dialogue would seem absurd even on daytime soap opera, the movie keeps coming up with scenes so arresting or eccentric you are aware of the wicked intelligence behind them.
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