The New York Times' Scores

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For 20,336 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: 9,413 out of 20336
  2. Mixed: 8,455 out of 20336
  3. Negative: 2,468 out of 20336
20336 movie reviews
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  1. The Outrageous Sophie Tucker
    The movie isn’t especially well made, yet because Tucker is such a gloriously rich figure — immigrant turned runaway mother turned vaudevillian turned superstar — she renders its formal and aesthetic shortcomings (mostly) irrelevant.
  2. Before We Go
    The chemistry makes the movie’s pleasures easy to surrender to, albeit fleetingly.
  3. Zipper
    The script, by Ms. Stephens and Joel Viertel, though lurching at times into overstatement, is enhanced with worthy if fleeting performances from John Cho and Christopher McDonald as Sam’s colleagues. Ray Winstone, as a journalist, effectively melds sleaze and compassion.
  4. Our Brand Is Crisis
    It’s cute for a while. The stars are pros, and their scenes, often staged so that the characters are within breathing distance of each other, have snap.
  5. Wild City
    The crisscrossing pursuers and pesky police suggest a watered-down version of the treacheries in “City on Fire.” But the cluttered, unfolding dynamism of Mr. Lam’s action scenes remains resilient when gunplay or knife fights are thrust into street life.
  6. The Second Mother
    The Second Mother goes soft toward the end, defusing its conflicts too easily and inconsequentially.
  7. Room
    While it flickers with grace and imagination during its initial half, largely because of Jack, it devolves into a dreary, platitudinous therapy movie in its second, largely because of Ma.
  8. Beltracchi: The Art of Forgery
    Beltracchi: The Art of Forgery is a case in which a great documentary topic hasn’t yielded a great documentary.
  9. Homme Less
    Mr. Wirthensohn, who has known Mr. Reay since both were models, sees Mr. Reay’s life as a metaphor for the vanishing middle class. But Mr. Reay merely comes across as an aging casualty of Manhattan fashion, vainly chasing his fortune in a fickle industry that prizes youth.
  10. Arabian Nights: Volume 1, The Restless One
    Mr. Gomes has a tendency to revel in his own cleverness and to indulge in self-conscious cinematic jokes. He also has a penchant for obscurantism, a habit of confusing ambiguity with depth.
  11. Arabian Nights: Volume 3, The Enchanted One
    There is a fine line between delving into the mysteries of life and engaging in mystification, and Mr. Gomes lands on the wrong side of it. There is something disingenuous in the way this movie disowns its own ambitions and scorns the possibility of clarity or coherence. Maybe its opacity is a matter of principle. Or maybe it’s just an excuse.
  12. Ready Player One
    Mr. Spielberg, a digital enthusiast and an old-school cineaste, goes further than most filmmakers in exploring the aesthetic possibilities of a form that is frequently dismissed and misunderstood.
  13. Brothers ... Blood Against Blood
    Although Brothers is a remake of Gavin O’Connor’s 2011 “Warrior,” its plotting, timeouts for montages and a song or two — Kareena Kapoor appears as a spangly item girl, the sole female in a sea of leering chorus boys — are echt Hindi movie. Even more so is its emotional appeal.
  14. Searching for Home: Coming Back From War
    There is little new insight, although the film does create an instructive tension between admiring bravery and sacrifice and being appalled by war itself.
  15. Fever
    Fever doesn’t come to a neat ending and ultimately feels unsatisfying. Before then, though, it’s an intriguing and intelligent update of a true crime still chilling more than 90 years later.
  16. Wildlike
    The Wildlike landscapes are exhilarating, but when the film works, it’s because of the interiors.
  17. Wolf Totem
    The landscape and painstakingly trained wolves are the true stars.
  18. The Hallow
    Mr. Hardy, however, would rather busy himself with reminders of earlier creature features.... Luckily, John Nolan’s old-school effects are wicked good, and Martijn van Broekhuizen’s mossy photography is pleasingly sinister.
  19. The House That Jack Built
    As directed by Henry Barrial, there is solid ensemble acting, particularly by Mr. Bonilla, who dependably anchors a movie that is almost too busy.
  20. Home from Home: Chronicle of a Vision
    Home From Home is imbued with the villagers’ attachment to the land, but while dutifully capturing the period, the film feels less layered than Mr. Reitz’s past work.
  21. The Moving Creatures
    Mr. Gotardo uses long, slowly unfolding shots and extended close-ups to aid our familiarity with each set of characters — almost by osmosis, we grasp their domestic dynamics, the rhythm of their routines.
  22. The Beauty Inside
    The film, pleasing and inoffensive, often amuses as it wrestles with the nature of familiarity as well as the question of where beauty resides.
    • 55 Metascore
    • 60 Critic Score
    A Ballerina's Tale
    Mr. George chooses to avoid the more heart-wrenching aspects of Ms. Copeland’s tough upbringing, and his presentation of her remarkable comeback is remarkably low on suspense.
  24. The Warriors
    The film is as handsome to watch as it is preposterous to listen to, full of gorgeous nocturnal city images that splash blaring neon colors against filthy, rain-slicked gray. Mr. Hill uses subways, jukeboxes, spectacularly eerie costumes and deserted streets to create a stark yet extravagant visual style, and a grimy little world in which everything looks curiously brand-new. Thanks to a lot of wipes and slow-motion shots, you are never in danger of forgetting that somebody clever is at the helm.
  25. Front Cover
    Though too slight to be memorable, the gay romance Front Cover takes a gentle, thoughtful look at the intersection of ethnicity and sexuality.
  26. The Family Fang
    Mr. Bateman’s direction of the actors is especially sensitive in this and other tricky scenes, showing a delicacy with emotional textures that isn’t always matched by the story, especially when Annie and Baxter speak in therapeutic clichés.
  27. A War
    The conclusion would be chilling if it weren’t so reserved. For Denmark, the film, an Oscar nominee in the foreign-language category, might seem quietly radical, but Mr. Lindholm errs too far on the side of quiet.
  28. Lolo
    Many little touches in the film reflect the offbeat hand of Ms. Delpy. But she sells herself short by not giving the mother-son conflict a bit of a sharper edge beyond Lolo’s awfulness.
  29. Rabin, the Last Day
    Rabin, the Last Day is not interesting in spite of its flaws as a film. It’s interesting because of them, because of Mr. Gitai’s refusal or inability to clarify or even coherently narrate the history he addresses.
  30. (T)error
    Because of its shortcomings, (T)error serves as evidence of a broken system rather than an indictment of it. Yet such evidence is worrisome and points to a threat to civil rights.
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