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. Dinner in America
    There is, perhaps, an argument to be made for representing a time and place truthfully, but because the film does not critically engage with the uglier elements of the society it portrays, these become a distraction. And a viewer might find it difficult to get sucked into the love and music story at its center.
  2. The Last Tycoon
    The Last Tycoon doesn't really build to any climax. We follow it horizontally, as if it were a landscape being surveyed by a camera in a long pan-shot.
  3. Dating & New York
    A winning cast helps sell that familiar premise — not just Reale and Young-White, who have definite chemistry and an easy-flowing banter, but also the brassy, scene-stealing Catherine Cohen.
  4. tick, tick...Boom!
    Miranda’s devotion to his idol keeps him from expanding the musical’s myopic fretting into a universal story of sacrifice and resolve. Garfield at least gives Larson an endearing vulnerability.
  5. The Meaning of Life
    Monty Python's the Meaning of Life is funny but, being unreasonable, I wish it were funny from start to finish.
  6. Against the Current
    It’s not difficult to be moved and impressed by Gretarsdottir’s life story, especially when she details the secrecy of her struggles, but the story falls short in tying these emotional threads with her athletic accomplishments in an eloquent manner.
  7. Vacation Friends
    Clay Tarver, a veteran of the TV series “Silicon Valley” (and a founder of the postpunk band Chavez) directs with an eye and ear that’s a cut above what one usually gets with this sort of fare.
  8. Juniper
    Predictably, their relationship softens up, but the film nevertheless maintains some of its prickly charm, in no small part because of the feisty Rampling, whose ice-queen persona here straddles bone-dry humor and withering tragedy.
  9. The Boy Behind the Door
    Charbonier and Powell, themselves childhood friends from Detroit, focus on the boys’ allegiance to each other with an unwavering focus. This intent minimalism is also why the movie does not transcend its virtuosic, almost abstractly taut storytelling.
  10. All the Streets Are Silent: The Convergence of Hip Hop and Skateboarding (1987-1997)
    The film excels when it harnesses the wistful thrill of a bygone era, reminding us of a rich, creative past that deserves ample recognition.
  11. Bullet Train
    It’s watchable — it stars Brad Pitt — jokey, sometimes funny and predictably stupid.
  12. The Boys in the Band
    Crowley has a good, minor talent for comedy-of-insult, and for creating enough interest, by way of small character revelations, to maintain minimum suspense.
  13. Ascension
    This aestheticization of Chinese society doesn’t exactly sit well with this viewer: one wonders if this counts as a kind of tourism.
  14. We Intend to Cause Havoc
    The music itself is exciting enough that it washes out some of the unpleasant taste of the film’s early “white people discovering stuff” tone. And Chanda himself is incredibly winning, especially when he takes the stage.
  15. The Harder They Fall
    Samuel makes the most of his formidable cast. If anything, he may be overgenerous. The narrative sometimes flags so that everyone can get in a few volleys of the salty, pungent dialogue on the way to the next round of gunplay or fisticuffs.
  16. Scales
    Ameen prioritizes symbolism teeming with sensory spirit over plot-based narrative, which ultimately renders her attempt at making a political statement too opaque and disjointed to have much of an impact.
  17. Kipchoge: The Last Milestone
    The athleticism, physics and what one person calls the “bit of ballet” of the event are all stirring to witness.
  18. Scenes from an Empty Church
    “Scenes” has its moments, as any film that sits Ryan and Corrigan opposite each other in a confessional would. But even special effects near the end play more like the response to a challenge than a spark of inspiration.
  19. Tailgate
    This well-choreographed hunt is chilling, sure — particularly because of de Wolf’s terrifying performance and unconventional choice of weapon — but it’s also a little bit fun.
  20. Ghost in the Machine
    It is a competent, occasionally witty genre piece that never tries to be anything more.
  21. Everything Went Fine
    Understated almost to a fault, the film pitches its tone somewhere among the looming sorrow, gentle comedy and bureaucratic tedium that death, especially when planned, can entail. If the result is bracingly unsentimental, it’s also a touch inert — a little too poised to compel emotionally.
  22. Materna
    As it stands, the glue uniting these women of different ethnicities and backgrounds reads like a failed attempt to carve a more ambitious meaning out of individual stories already brimming with possibility.
  23. Turning Red
    It’s too bad that Turning Red fumbles its storytelling, because at the very least it has fun when it lets its fur fly.
  24. Unclenching the Fists
    Ada’s psychological tumult is captured in intimate close-ups and fluttering camera movements, while the absence of a score complements the film’s uneasy mood of pent-up rage and stifling despair.
  25. In Front of Your Face
    The secret is poised somewhere between triteness and disarming simplicity.
  26. Freaks vs. the Reich
    Its splashy, curiously filter-free adventures unfold in Italy and Germany during World War II, to sometimes awkward effect.
  27. The Alpinist
    The movie could stand to demystify how some of its most terrifying early shots were filmed. (Later on, we’re told Leclerc agreed to carry a small camera himself to shoot part of a conquest in Patagonia.) But it does capture its subject’s philosophy.
  28. Night Raiders
    Goulet’s sleek, lo-fi world-building — decrepit gray cityscapes; fields covered with smoke-spewing factories — is more compelling than her storytelling, which grows increasingly predictable as Niska and the vigilantes plan a raid on Waseese’s academy. Yet the film’s use of clichés can also be thrillingly subversive at times.
  29. The Year of the Discovery
    If the convoluted history and corresponding formal conceits are difficult to absorb, that is part of the point.
  30. Wolf
    Wolf may lead with an open curiosity, but in tackling big ideas about identity, openness is not always enough.
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