The New York Times' Scores

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For 20,324 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: 9,408 out of 20324
  2. Mixed: 8,449 out of 20324
  3. Negative: 2,467 out of 20324
20324 movie reviews
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  1. The Land
    As if to personify the movie’s whiplash-inducing split between gloss and grit, the singer Erykah Badu appears as a prostitute — and also contributes a duet with Nas, one of the executive producers, to the soundtrack.
  2. Nerve
    For all its hints at imminent catastrophe, Nerve feels surprisingly tame.
  3. The Shack
    A bit more editing to remove some of the airiness would have made for a better film.
  4. Phantom Boy
    Instead of maintaining an effervescent fizzle, Phantom Boy too frequently sputters piffle.
  5. Life, Animated
    Belaboring the cartoon connection, the director leaves the family struggles that enrich Mr. Suskind’s 2014 book of the same title stubbornly veiled.
  6. Denial
    The absence of an emotional catharsis in the film, efficiently directed by Mick Jackson (“The Bodyguard,” “Temple Grandin”) from a screenplay by the British playwright David Hare, leaves a frustrating emptiness at its center.
  7. Tony Robbins: I Am Not Your Guru
    By restricting himself to showing how well Mr. Robbins does his job, Mr. Berlinger mainly reveals how narrowly he has done his own.
  8. Dying to Know: Ram Dass & Timothy Leary
    It’s less a social history than a commercial for alternative healing.
  9. Free to Run
    Free to Run prefers nothing more than an easy jog down memory lane.
  10. Shelley
    Maybe expecting a horror film to have a point is expecting too much. In any case, the two actresses give committed performances on the way to a veiled ending.
  11. Can We Take a Joke?
    The documentary Can We Take a Joke?, a one-sided look at a multisided issue, does a fine job of defending a comic’s right to perform incendiary material. It would be better if it also at least acknowledged the possibility that some jokes ought not be told.
  12. The Debt
    Slow and sincere, The Debt bites off more plot than it can dramatically chew, its characters — especially the go-between played by the excellent Argentine actor Alberto Ammann — diluted by political maneuvering.
  13. Operation Chromite
    The wooden dialogue gives Liam Neeson little to do beyond bite on his corncob pipe and berate subordinates who dare question him. Still, in perhaps the only instance when this is a compliment, he’s no Olivier.
  14. Edge of Winter
    [A] competent but slight thriller.
  15. For the Plasma
    For the Plasma is a film with no shortage of ambition, taste (Maine looks great in 16-millimeter) or ideas. It’s a shame those ideas are so incoherent.
  16. Gold
    [McConaughey's] wild, abrasive and improbably delicate performance is what makes Gold watchable, even if the rest of the movie doesn’t supply sufficient reason to keep watching.
  17. Danny Says
    If Mr. Fields’s contributions to pop music deserve more fame, the movie plays like an overcorrection, a spirited but repetitive testament to one man’s excellent taste.
  18. Lace Crater
    Ms. Burdge — all quicksilver emotion and exposed nerve endings — is an endlessly watchable focal point. Her character’s vulnerability, uncertainty and growing self-acceptance lend the movie a necessary gravity.
  19. The Rocketeer
    A benign adventure saga that has attractive stars, elaborate gimmicks and nice production values -- everything it needs except a personality of its own.
  20. Mary Poppins Returns
    What’s odd here is how closely the new movie follows the original’s arc without ever capturing its bliss or tapping into its touching delicacy of feeling.
  21. All I See Is You
    The director, Marc Forster (who wrote the script with Sean Conway), fashions such a languid, tipsy aesthetic around the seemingly happy marriage of Gina and James (Blake Lively and Jason Clarke) that it’s easy to keep watching.
  22. Brimstone
    The carnage pushes you away (and wears you down), even as the genre, industrious cast, beautiful landscapes and stark, often striking visuals pull you in.
  23. Trespass Against Us
    Though thematically vague, thinly plotted and without a reliably sympathetic soul to cling to, the movie has a mutinous energy and an absurd, knockabout charm.
  24. Una
    The scenes that leave Ms. Mara and Mr. Mendelsohn alone are, tellingly, the most interesting and effective ones. Their performances are tightly focused and unflinching; too bad they are surrounded by a lot of heavy-handed, poorly aimed cinematic showing off.
  25. LBJ
    Directed by Rob Reiner from Joey Hartstone’s script, LBJ is a frustratingly underdeveloped vehicle for Mr. Harrelson’s talents as well as an unfortunate missed opportunity.
  26. Planetarium
    Tidiness isn’t crucial, but watching Planetarium often feels like making contact with fragments of a great three-hour movie.
  27. Birth of the Dragon
    Birth of the Dragon is ambitious: it wants to be a character study, an explication of martial arts philosophy and an action picture.... But the film never really gets fully juiced until the climax.
  28. When Two Worlds Collide
    The issues presented in When Two Worlds Collide are so crucial that it feels churlish to characterize it as a dutiful, and ultimately pedestrian, documentary. There is something evasive about it as well.
  29. A Man Called Ove
    Good-hearted stuff, to be sure, but mainly of interest to lovers of cinematic comfort food.
  30. The Model
    Mr. Matthiesen seems as if he might have been trying to make an indictment of sexism and exploitation in the fashion world, but if so he doesn’t hit the theme nearly hard enough.
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