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. Saturday Fiction
    Star power is a logic unto itself, and Lou has ensured a limitless supply by casting Gong as an actress-spy. She conveys depths of pain and longing even when the script offers none, seducing us as effortlessly as Jean seduces her enemies.
  2. The Laundromat
    Soderbergh and his top-notch cast (Sharon Stone shows up, as do Jeffrey Wright and Matthias Schoenaerts) keep things lively, playing out parables of betrayal and deception with pulpy, TV-movie flair.
  3. Don't Let Go
    You get lost in its thickets because Estes hasn’t wholly figured out how to make toying with time work. But he has a fine cast and a good sense of place, including a feel for the spookiness of emptied-out spaces, and he makes his conspicuously low budget work for the near-claustrophobic intimacy.
  4. Before You Know It
    There are a good number of funny and pointed individual scenes and bit parts here (Alec Baldwin is droll as an inept therapist).
  5. Killerman
    The result might feel overlong and overwrought; yet thanks to Bader’s clever plotting and fruity dialogue — as well as strong supporting players — this grimy picture climaxes more satisfyingly than expected.
  6. Driven
    Somewhere deep inside Driven — Nick Hamm’s based-on-real-life crime caper — lies a fascinating movie.
    • 73 Metascore
    • 60 Critic Score
    Skin Game
    Garner and Gossett seem like originals out of American humor, and in a better movie they might have continued that way. But Skin Game is neither written nor directed with enough toughness, or enough compassion, to realize its potential.
  8. To Wong Foo Thanks for Everything, Julie Newmar
    Though he and his co-stars tackle their roles with mischievous humor, Beeban Kidron's direction stays flat even when the actors are funny.
  9. The Burnt Orange Heresy
    There’s some grim stuff here, but very little of Willeford’s mordant humor. A small and potent quantity of this quality is delivered by the larger-than-life rock star Mick Jagger in the role of Cassidy. Jagger shows a refreshing lack of conventional vanity by allowing both Bang and Debicki to tower over him.
  10. The Son
    Schindel is more interested in suspense gamesmanship for its own sake, and all other provocations fade from the canvas.
  11. Kingdom
    The film acquits itself honorably, even if its ultimate message is disquieting.
  12. Raise Hell: The Life & Times of Molly Ivins
    While cuddling up to the adored one is a familiar biographical tactic, some critical distance might have made for a deeper, stronger movie.
    • 56 Metascore
    • 60 Critic Score
    The Funhouse
    Mr. Hooper almost persuades us that he is up to more than just gore, creepiness and trauma.
  14. Halloween Ends
    Green has made a movie that’s less frantic and more intimate than its predecessor, one that unfolds with a mourning finality.
  15. Citizens Band
    Citizen's Band, is so clever that its seams show. Mr. Demme's tidiest parallels and most purposeful compositions are such attention-getters that the film has a hard time turning serious for its finale, in which characters who couldn't communicate directly come to understand one another at long last.
  16. *batteries not included
    Children may enjoy this, but their adult escorts will have a harder time...It's been well made and, especially in Miss Tandy's case, acted with a sense of fun. But the time for this brand of fantasy may have come and gone.
  17. The Missouri Breaks
    The film conveys a fine sense of place and period, of weather and mood and the precariousness of life, which are things that Mr. Nicholson responds to as an actor. Yet the plot, along with Mr. Brando, keeps intruding and throwing things out of balance.
  18. The Way Back
    The movie withholds a crucial bit of back story in early scenes only to drop it like an anvil later on. Since the revelation is known to the characters the whole time, the decision to deploy it as a surprise is cheap and shameless — a blatant foul in a movie otherwise filled with smoothly executed plays.
  19. The Stunt Man
    The film's cleverness is aggressive and cool, and so its mysteries, though elaborate, remain largely uninviting.
  20. Tales from the Crypt: Demon Knight
    What "Tales From the Crypt" does best is sustain a look and tone that bring a comic-book's broad strokes into the realm of a live-action movie without seeming too mannered or arty. The film's gooey monsters with their electric green eyes and ferocious voracity are among the more convincing zombie demons to be found in a recent horror film.
  21. Jim Allison: Breakthrough
    Documentaries about innovative figures don’t always offer correspondingly innovative filmmaking. But even coloring within the lines of conventional biographical storytelling, Jim Allison: Breakthrough provides an accessible introduction to James P. Allison.
  22. Where Eagles Dare
    Where Eagles Dare is the ultimate metaphor. It encapsulates human experience into an ordered, comprehensible melodrama that is both absurd and entertaining.
  23. To All the Boys: Always and Forever
    Even at its most saccharine I can’t fault it for committing fully to what it is. I’m no fan of Valentine’s Day unless it’s a heart-shaped confection, but for those who are, “To All the Boys” is a light but satisfying dessert.
  24. Cruella
    This revisionist supervillain origin story, directed by Craig Gillespie (“I, Tonya”), doesn’t offer much that is genuinely new, but it nonetheless feels fresher than most recent Disney live-action efforts
  25. El Camino: A Breaking Bad Movie
    Paul’s performance was often overshadowed by Cranston’s during the series’s run, but he’s phenomenal here.
  26. The Vigil
    Keith Thomas’s slim but effective The Vigil milks terror from a minimalistic setup, relying on the shapes we make out with squinted eyes in the shadows.
  27. Dark Waters
    You do feel Haynes’s touch now and again, particularly in the sense of menace that seeps into a crepuscular law office and in the everyday eeriness that suffuses outwardly ordinary homes that are anything but normal.
  28. Blink of an Eye
    The interactions between these real-life characters are here recalled with fondness and rue by the surviving participants. Taublieb’s approach is straightforward, but also a little pedestrian.
  29. Black Christmas
    If the 2019 Black Christmas is not nearly as chilling as the original, it is genuinely barbed as gender satire, and it cleverly pre-empts obvious outrage.
  30. Disappearance at Clifton Hill
    For patient or forgiving fans of idiosyncratic thrillers, “Disappearance” may deliver satisfactory spills and chills.
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