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. Richard Linklater: Dream Is Destiny
    Such an uncommon artist warrants a less conventional survey than this one.
  2. The Confessions
    An investigation among the attendees grants Mr. Andò the opportunity to pursue pithy, discursive exchanges about power, austerity and capitalism amid high-end accommodations and a tasteful classical soundtrack.
  3. Hieronymus Bosch, Touched by the Devil
    The movie comes alive only when the camera lingers over the actual paintings and allows their power to speak for itself.
  4. For the Love of Spock
    This film nimbly straddles biography and “Trek” valentine (Adam is a longtime television director), but also recounts the fraught if ultimately devoted ties between Adam and Leonard.
  5. Harry Benson: Shoot First
    The film, by Justin Bare and Matthew Miele, would be better if it spent less time gushing about how great Mr. Benson is and more time confronting some of the questions his approach raises.
  6. On the Silver Globe (1988)
    A certain amount of work is required to stitch together a sense of the plot, but as is often the case in Zulawski’s films, the story is less the point than an excuse, a loose temporal conceit holding together flights of visual invention, verbal extravagance and male and female nudity.
  7. The Commune
    Tobias Lindholm’s screenplay sacrifices credibility for quirkiness.
  8. Split
    Split is lurid and ludicrous, and sometimes more than a little icky in its prurient, maudlin interest in the abuse of children. It’s also absorbing and sometimes slyly funny.
  9. Mascots
    Although Mascots is neither as funny nor as satirically acute as its forerunner, it would be churlish to complain too loudly. And the sharpest verbal jokes in the screenplay by Mr. Guest and the actor and writer Jim Piddock are as inspired as ever. Mr. Guest’s gift for the archly comedic mot juste is undiminished.
  10. Pete's Dragon
    At two hours and 14 minutes, the movie is a lot longer than it needs to be. On the other hand, Elliott (whose beeps and bomps and chomping sounds are supplied by Charlie Callas) is very sweet and emotive, and you don't often see children's musicals as ambitious as this one any more.
  11. The Girl with All the Gifts
    The Girl With All the Gifts doesn’t really venture into new territory, but it does a decent job of reminding us why zombies are so scary, and so interesting.
  12. Sid and Nancy
    Sid and Nancy doesn't try to win its audience's sympathy in any conventional way, which is just as well, since that would have been a losing battle. But it does succeed in offering bleak, nasty and sometimes hilarious glimpses of life in the punk demimonde.
  13. Kampai! For the Love of Sake
    [A] crisp if feather-light documentary.
  14. Do Not Resist
    The film doesn’t unearth anything that hasn’t already been voiced, and it could use more details on the scope of the phenomenon. But with more police shootings in the headlines just in the past few days, it’s nothing if not timely.
  15. My Blind Brother
    It’s made watchable by an appealing cast.
  16. Born in China
    The narrative, read by John Krasinski, is kid-friendly in a cloying sort of way, and unpleasant realities like China’s pollution are not mentioned. So as an introduction for children to exotic creatures in picturesque landscapes, the movie is harmless enough.
  17. Voyage of Time: The IMAX Experience
    Mr. Malick presents these events as if he had drawn them not from his mind but from some repository of celestial memory. Which may be to say that Voyage of Time ultimately proves his point about the way the universe and human consciousness mirror each other. But it’s a point that might have been more powerful if he had left it unspoken.
  18. Darkest Hour
    Churchill’s resolve, like the bravery of the soldiers, airmen and ordinary Britons in “Dunkirk,” is offered not as a rebuke to the current generation, but rather as a sop, an easy and complacent fantasy of Imperial gumption and national unity.
  19. Defying the Nazis: The Sharps' War
    Defying the Nazis: The Sharps’ War is a generic documentary about two people who were anything but. Yet even when the film wanes, its subjects still come across as remarkable.
  20. The Journey
    Though the script tilts to the didactic, the performances are absolutely delicious, with Mr. Meaney droll and understated and Mr. Spall fiery and derisive, yet not above a joke.
  21. Blue Jay
    Nostalgia gives way to melodrama, and dramatic truth to soapy histrionics, and Blue Jay falters on a formulaic revelation about mistakes made and lessons learned too late.
  22. Southwest of Salem: The Story of the San Antonio Four
    "Southwest of Salem” proceeds with what have become sobering tropes for true-crime documentaries: a defendant saying she didn’t realize she needed a lawyer; outsiders explaining how they grew convinced of a miscarriage of justice.
  23. A Street Cat Named Bob
    A savvy exercise in inspirational feel-good cinema lightly seasoned with grit.
  24. A Good American
    A Good American gets bogged down in details and personnel talk, but its subjects have an urgent narrative to tell.
  25. Shin Godzilla (Godzilla Resurgence)
    The film is at its best when it’s in parody mode, though it keeps that card too close to the vest for much of its two-hour length. The humor, not the monster, is what you’re left wanting more of.
  26. Mulan
    It’s lightly funny and a little sad, filled with ravishing landscapes and juiced up with kinetic fights (if not enough of them). It has antiseptic violence, emotional uplift and the kind of protagonist that movie people like to call relatable.
  27. My Cousin Rachel
    It’s all very pretty, but too often the movie’s beauty isn’t tethered to deep feeling or strong ideas, one reason you may often find your eyes and thoughts drifting away from the quietly escalating drama toward the vast green fields, the majestic horses and nice detail work.
  28. 100 Streets
    The threads may not all be original, but they’re kept nicely distinct. Rather than awkwardly intertwining, they merely brush up against one another.
  29. Michael Moore in TrumpLand
    Mr. Moore has basically made an earnest but not very entertaining pro-Clinton campaign film, occasionally funny, momentarily heartfelt when he takes up the subject of universal health care and the lives lost for lack of it. Against the rest of his work (“Bowling for Columbine,” “Roger & Me”) it’s fairly tepid stuff.
  30. By Sidney Lumet
    While it’s no surprise that Mr. Lumet can spin a tale, these murky-looking, less-than-flattering sit-downs are irritatingly suboptimal, particularly given that he was so great at telling intimate stories about men in shadows.
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