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. They Shot the Piano Player
    Javier Mariscal and Fernando Trueba’s They Shot the Piano Player is an astoundingly vibrant animated project, fitting for its subject matter.
  2. Sorry/Not Sorry
    An earnest and frustrating documentary.
  3. Lift
    Petersen’s bare-bones, on-the-ground production works well for a story like this, highlighting how vital these small workshops in homeless shelters and community centers can be.
  4. The Saint of Second Chances
    The movie was directed by Morgan Neville (“20 Feet From Stardom”) and Jeff Malmberg (“Marwencol”), and is a tad more fanciful than their prior work. But fancy is a good fit for the Veecks, it turns out.
  5. Inspector Sun
    While sometimes grating, the film is always appealing, with pleasing details, down to its Art Deco end titles.
  6. The Featherweight
    Kolodny handles his movie-as-documentary conceit with subtle flair and finesse. For a subgenre as crowded with movies as boxing has weight classes, The Featherweight isn’t a knockout. But it does land more than a glancing blow.
  7. Shoshana
    This isn’t so much a film about geopolitics or even history as it is about two lovers torn between passion and obligation.
  8. 26.2 to Life
    Yoo was granted exceptional access to San Quentin, and when she depicts the mundane qualities of life there — inmates working odd jobs, writing letters, passing the time alone in their cells — the movie gains some of the penetrating clarity of one of Frederick Wiseman’s films.
  9. Carlos
    This controlled documentary captivates as a soulful personal history, even if it doesn’t exactly transcend.
  10. The Toxic Avenger
    The outrageous violence, a core allure of the original, remains, but the gross-out is situated in a more colorfully pulpy universe and has a more smartly self-conscious touch to its comedy.
  11. She Is Conann
    It’s more of a fever dream than an actual story, offering a queer counternarrative to the macho vision of the legendary warrior that is as hypnotic as it is gnarly.
  12. Stamped from the Beginning
    In a film brimming with visual gestures, these mini portraits of anti-racists are among its most memorable.
  13. Fackham Hall
    Sending up costumey, upstairs-downstairs tropes, the movie seldom lets five seconds pass without a wisecrack, pratfall or sight gag, sometimes all three stacked on top of each other.
  14. The Convert
    The real star of this Kiwi western is the setting. The lush forests and stark, black sand beaches, shot in locations near those used in “The Piano,” help make The Convert more than a message movie.
  15. Dancing in the Dust
    Dancing in the Dust shows Farhadi’s early confidence with using framing and cutting to create tension and parallels — skills that would serve him later.
  16. Yellow Door: '90s Lo-fi Film Club
    The doc mostly amounts to a sweet nostalgia trip about a niche group of obsessive young people. It’s also an ode to young adulthood itself: For most of the group, latching on to cinema was simply a means of finding a community, and themselves.
  17. Powaqqatsi
    Powaqqatsi, which is the second part of a planned trilogy, reaffirms Mr. Reggio's diligence and sincerity, though it does not signficantly advance his achievement.
  18. Ex-Husbands
    Pritzker directs genuine performances and has an ear for conversations with the ring of everyday emotion.
  19. Plan C
    At times, all of the secrecy and legal caution can make it hard to understand the complex logistics of getting a legal abortion in the United States. But the risks involved are bracingly apparent, and the documentary benefits from its attempts to capture Plan C’s high-stakes operation in progress.
  20. The Accidental Getaway Driver
    Despite comic touches, the story stays in the shadows of heart-to-heart talks and ruminations, with contemplative cinematography that sets faces like gems in the darkness and conjures heady visions of Long in Vietnam.
  21. The Queen of My Dreams
    Kaur acts as an amiable anchor, gamely embodying a mother and a daughter across time periods.
  22. Werner Herzog - Radical Dreamer
    The movie also provides a smart primer on the “New German Cinema” Herzog helped bring into being during the 1960s.
  23. No Accident
    Jacobson’s account does the necessary work of restating the facts and showing that people can be held accountable for fomenting this kind of terror and harm.
  24. The Stones and Brian Jones
    [Broomfield’s] announcer-like voice-over and sometimes dishy interviews might evoke a “Behind the Music” exposé, but he seems most like a fan with a rueful sympathy for his devil of a subject.
  25. The Family Plan
    This is pretty routine material, but it’s been realized with charm and enthusiasm: The director, Simon Cellan Jones, maintains a good handle on the comic-thriller tone and shoots the action with wit and creativity.
  26. You Were My First Boyfriend
    Despite its title, You Were My First Boyfriend is at its most effective when Aldarondo moves beyond teen lust and into the more complicated aspects of her upbringing.
  27. Tatami
    The mounting tensions of these moving parts — and steely performances by Mandi and Amir — make for an engrossing thriller fueled by female rage.
  28. David Holmes: The Boy Who Lived
    “The Boy Who Lived” provides an unusual behind-the-scenes portrait of how life goes on after movies are made.
  29. Cypher
    A cunning experiment in cross-genre filmmaking, Cypher is all fun, games and hagiography until it’s not, effectively deceiving at every conspiratorial turn.
  30. South to Black Power
    In a nice bit of journalistic even-handedness, several of Blow’s interviewees are not entirely convinced by his thesis, or they believe there are other paths to political gains.
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