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. Only Angels Have Wings
    When you add it all up, Only Angels Have Wings comes to an overly familiar total. It's a fairly good melodrama, nothing more.
  2. Wedding Doll
    Mr. Gilady, a documentarian making his fiction feature debut as a writer and director, over-stacks the deck with this belabored if artfully shot story.
  3. New York New York
    Its tightly shot scenes never reveal much context, and the rather cryptic subtitles can lead a viewer to mistaken conclusions until the identities and motivations of the characters click into focus.
  4. Hockney
    When it deepens its intellectual focus, Hockney begins to lose coherence, with rushed sequences that cover his stage designs, his landscapes and his experiments with photography.
  5. The Wild Life
    The Wild Life is pretty to look at, with its skies and ocean, calm or stormy, and it has a driving soundtrack. But the story lacks that extra layer of complexity and meaning that parents can appreciate.
  6. Indian Point
    Ms. Meeropol is steadfast in providing both sides of the story. That’s admirable, yet it can come across as uninvolving.
  7. We the People: The Market Basket Effect
    The tale, ripped from the headlines, is stirring, even if the repeated rally scenes and aerial views of the region grow stale.
  8. L'Attesa (The Wait)
    The performances are vivid and moving, but there is ultimately less to this well-made, impeccably acted film than meets the eye. Its meticulousness is to some degree a flaw, an evasion of nearly every variety of human messiness.
  9. Fassbinder: To Love Without Demands
    The access to Fassbinder that the relationship provided was a boon to the film, but a disadvantage as well because the close-up view results in a patchy portrait rather than a coherent biography.
  10. Dough
    Dough is sweet, often funny and always nonthreatening, a movie for those who wish the intractable realities of the world would just disappear.
  11. The American Side
    If the self-consciousness can be charming, it also prevents The American Side from becoming fully its own film.
  12. American Pastoral
    American Pastoral leaves a residue of dread and despair that is oddly in keeping with today’s moment of uncertainty amid an ugly presidential campaign.
  13. Approaching the Unknown
    If Approaching the Unknown isn’t entirely satisfying, Mr. Strong reaches high with his portrayal of the unraveling of a man who believes survival is a matter of engineering.
  14. Bridgend
    Everything’s in service of the images in Bridgend, a stylishly shot, eerily scored and moodily acted film that wants for nothing but a plot. Depending on how you like your movies, this is either a walkout or a must-see.
  15. Rabin in His Own Words
    The obvious problem with its subject-says-all approach is the lack of outside voices and perspective. This is a broad summation of the man, not a critical look at his policies.
  16. Those People
    The director, Joey Kuhn, making his feature debut from his own script, has created fairly credible and sympathetic characters, despite the 1-percenter milieu.
    • 75 Metascore
    • 60 Critic Score
    Black Girl (1966)
    [Mr. Sembène's] sadly pensive story of a young Dakar girl hired as a governess for a white couple's three children appears unevenly weighted in favor of Mr. Sembène's dolorous thesis.
  18. Two Lovers and a Bear
    The beauty and absurdity (things also get harrowing) don’t entirely compensate for the overheated romanticism in which the movie is grounded, but they do make Two Lovers and a Bear a nearly singular cinematic trek.
  19. A Moment of Silence
    This ambitious documentary, by Ferdinando Vicentini Orgnani, is largely pleasing to the eye, and it pays close attention to the eloquent activists at its core. Journalists of every stripe provide context, perhaps more than we can digest.
  20. Mimosas
    At best ambiguous and at worst unfathomable, Mimosas, the sophomore feature from the Spanish director Oliver Laxe, merges harsh reality and offbeat mysticism into a reflection on the tug between our higher powers and baser instincts.
  21. Argentina
    For the non-Argentine audience, though, more context would have helped these wonderful songs and dances tell the nation’s story.
  22. Be Somebody
    The Japanese have a term for a certain type of character in manga (comic books) and anime: bishonen — pubescent in appearance, devoid of facial hair, sensitive, unthreatening. That would be Mr. Espinosa.
  23. Cosmos
    It is possible to appreciate Mr. Zulawski’s perverse ingenuity, and to miss his eye and voice, without quite succumbing to the strenuous charms and overcooked provocations of Cosmos.
  24. Nocturnal Animals
    There’s much to admire in Nocturnal Animals, including Mr. Ford’s ambition, but too often it feels like the work of an observant student.
  25. Lowriders
    Cars could easily have been the stars of Lowriders, but the film makes them supporting players in a family drama that’s a mix of strong scenes and shopworn ones punctuated by clichés.
  26. Atomic Blonde
    As she does, Ms. Theron locks down your attention immediately, holding you with her beauty and quiet vigilance.
  27. Department Q: The Absent One
    The Absent One finds Mr. Kaas as watchable as before, though a few well-intentioned attempts to lighten up his character — an orphaned cat is brought in, a speech about his motivations is given — are clumsily executed, and instead divert from his terse and magnetic personality.
  28. The Discovery
    The story stays intriguing for much of the way, but eventually things cease to make sense.
  29. Absolutely Fabulous: The Movie
    Serviceably, at times awkwardly, directed by Mandie Fletcher, the movie skews softer than the series at its barbed best, partly because the celebrity culture that once provided such rich material has become just another ratings opportunity for the Kardashians.
  30. Ants on a Shrimp
    None of the concoctions left me salivating (a basic, I’d think, for any food porn), and the exercise seems silly if not decadent. But foodies with a refined palate might differ — de gustibus, after all — and other viewers can appreciate the manic creativity that drives Mr. Redzepi and his crew.
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