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. Ferdinand
    Ferdinand, the new computer-animated adaptation from Carlos Saldanha (the “Ice Age” movies), speaks to its own time in a different way, dutifully adhering to the template for contemporary children’s films while avoiding much personality or distinction
    • 65 Metascore
    • 50 Critic Score
    Dancer
    In Dancer, Mr. Polunin’s suffering may be on display, but too little of his artistry.
  3. Tharlo
    Tharlo instead opts for fleeting charm and shaggy humanism, until the narrative takes a grim turn that’s both trite and sexist. The bottom drops out of the movie, leaving its interest almost exclusively ethnographic.
  4. Blazing Saddles
    Much of the laughter Mr. Brooks inspires is hopeful, before-the-gag laughter, which can be terribly tiring...Blazing Saddles has no dominant personality, and it looks as if it includes every gag thought up in every story conference. Whether good, bad, or mild, nothing was thrown out.
  5. Three Colors: Blue
    Blue doesn't seduce the viewer into its very complex, musically formal arrangements. The narrative is too precious and absurd. The interpretation it demands seems dilettantish.
  6. The Double Life of Veronique
    The Double Life of Veronique doesn't end. About three-quarters of the way through, it starts to dissolve, like mist, so that by the time it is actually over the screen seems to have been blank for some time.
  7. Miss Sloane
    Partly because Miss Sloane is more a character study than a coherent political drama, it fumbles the issue it purports to address, and it eventually runs aground in a preposterous ending.
  8. The Apostate
    The Uruguayan director Federico Veiroj’s leisurely comedy-drama The Apostate has its charms, though the story (and its hero) could benefit from a tarter approach.
  9. The Human Surge
    Just when you think you’ve got the movie pegged, it pulls a daring switch of perspective. While the thrill of that little coup is short-lived, it suggests that Mr. Williams may come up with something more substantial with his next feature.
  10. London Town
    An awkward merger of wide-eyed innocence and political unrest, Derrick Borte’s sweet, almost sugary picture wants to rock but never finds the gumption.
  11. Before the Flood
    The film wants to spur individual changes in behavior, but there’s a fair amount in it that might discourage you from even trying.
  12. Carrie Pilby
    In 2015, Bel Powley stole Sundance with her performance in “The Diary of a Teenage Girl.” Carrie Pilby poses a tougher test. Might she single-handedly redeem 90 minutes of contrived nonsense?
  13. I Am Not Madame Bovary
    There’s some intriguing social commentary in the Chinese comedic melodrama I Am Not Madame Bovary.... But appreciating it, and the other points of interest in the movie, requires a perhaps unusual amount of patience, or even indulgence.
  14. Paradise
    Paradise is a strikingly shot Holocaust drama that ultimately seems confused about whose story it’s telling or to what end.
  15. Wakefield
    The film, scrupulously faithful to its source, is decidedly literary, but not in an especially satisfying way.
  16. Tanna
    Despite its best efforts, Tanna drifts into a mode of exoticism that renders it an ultimately frustrating experience.
  17. A Family Affair
    By the jaw-dropping climax (an argument over a family portrait), and the film’s not-entirely unpredictable denouement, you aren’t sure whether you are witnessing an investigative family chronicle or an act of revenge.
  18. Huntwatch
    Narrated, rather annoyingly, by the Canadian actor Ryan Reynolds, Huntwatch feels dismayingly one-sided. Yet as we hear of animals being skinned alive and see a bludgeoned pup linger in agony, any pro-hunt argument seems emphatically beside the point.
  19. Ordinary World
    Billie Joe Armstrong of Green Day is usually pretty appealing when he dabbles in acting, and he’s appealing again in Ordinary World. But after a promising start the script lets him down, and the film turns into a predictable midlife-crisis yarn.
  20. Kékszakállú
    Even seasoned defenders of cryptic formalism may find it amorphous. The characters are never named, the camera work is static, and little that’s conceptually interesting materializes.
  21. Slash
    For a movie about proud outcasts, Slash is a little square.
  22. M.S. Dhoni: The Untold Story
    The movie, written and directed by Neeraj Pandey, is not hagiographic or overly obvious. Instead, it’s something of a quiet muddle, with too many squandered or dramatically blurry scenes.
  23. Never Surrender: The Ed Ramsey Story
    Directed by Matthew Hausle and Steven C. Barber, “Never Surrender” frustrates with its lack of focus.
  24. Asura: The City of Madness
    As the suspense slackens and blood starts spilling nearly to the point of self-parody, it almost seems designed as a test of mettle — for both the filmmakers and the audience.
  25. The Hollow Point
    The combined skills of the director, Gonzalo López-Gallego, and his cinematographer, José David Montero, can’t surmount a story that gives us no one to invest in.
  26. Phantasm II
    There are some grotesquely stylish and scary moments in Phantasm II, the sequel to a 1979 film that Don Coscarelli made as a precocious 25-year-old. Unfortunately, these episdoes seem to take as long to arrive as the sequel did.
  27. The Circle
    The novel is at its most trenchantly funny when depicting the exhausting nature of virtual social life, and it’s in this area, too, that the movie gets its very few knowing laughs. But it’s plain, not much more than 15 minutes in, that without the story’s paranoid aspects you’re left with a conceptual framework that’s been lapped three times over.
  28. The Unspoken
    Some of the frights work reasonably well; and Ms. Ferland is convincing. But there aren’t enough surprises or innovations to make this one stand out in the sea of horror fare that comes along this time of year.
  29. The David Dance
    Without the benefit of theatrical devices that might clarify the order of events, its time warps undermine the plot.
  30. Rainbow Time
    Much of this is funny and even perceptive about the nooks and crannies of adult sexual relationships. It’s also very well acted.... But something feels off.
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