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. A Shot Through the Wall
    Though attentive to calls for police accountability, and the media’s role in reducing complex issues into simple narratives, Long’s schematic script ramps up theatrics at the expense of more challenging insights.
  2. The Lost City
    While “Raiders” transcends its inspirations with wit and Steven Spielberg’s filmmaking and “Romancing” tries hard to do the same, The Lost City remains a copy of a copy.
  3. Buck Rogers in the 25th Century
    Some intelligent, sophisticated people have knocked themselves out to transform bland into bland, and they have succeeded to the extent that anyone who fondly remembers the comic strip, or the old movie serial with Buster Crabbe, probably will not feel cheated.
  4. Blacklight
    At least Williams displays a bit of inventive flair with novel booby traps and a chase scene that features a lurching garbage truck.
  5. Beyond the Infinite Two Minutes
    While there is much to admire in this scrappy, micro-budgeted debut feature, its sci-fi shenanigans are too convoluted and its visuals too claustrophobic to sustain interest.
  6. Peter von Kant
    Fassbinder’s work finds a kind of truth in the artifice of emotionally plumped-up dramas, but Ozon’s often tedious tragicomedy never hits such a stride, trusting that the material will automatically confer greatness; instead, “Peter” comes off like top-shelf fan-fiction.
  7. No Exit
    No Exit drops an arsenal of twists and rug-pulls at a machine gun’s pace, though Power, the director, doesn’t quite know how to milk the tension, and the perfunctory script (written by Andrew Barrer and Gabriel Ferrari) tries and fails to give the events a greater resonance.
  8. When You Finish Saving the World
    Eisenberg has already proven himself a smart wordsmith and a knowing performer of emotional unease, but this “World” is a disappointingly shallow tale of narcissism and negligence.
  9. Sharp Stick
    An uneven, uneasy fable of desire.
  10. Studio 666
    No one tries for anything mightier than put-on dumbness because that’s the outer limit of where the acting, writing (by Jeff Buhler and Rebecca Hughes) and directing (by BJ McDonnell) can take this premise. It’s fun, nonetheless, to catalog everybody’s imperviousness to embarrassment.
  11. Palm Trees and Power Lines
    Dack takes obvious care to make sure that the filmmaking and camerawork don’t further exploit the character. Yet it’s a bummer that the ethical and political thoughtfulness that she extends during Lea’s most harrowingly vulnerable moments doesn’t extend to the rest of the movie.
  12. Breaking Bread
    A lot of the observations in “Breaking Bread” — the repeatedly offered notions that food is a common language or that politics has no place in the kitchen — seem trite and perhaps overly optimistic. The movie would ideally be shown with an accompanying tasting menu.
  13. Somewhere with No Bridges
    Even as Frank keeps questioning and exploring, Madeiras and the full sweep of his life remain as out of focus as this documentary, an essay without a coherent thesis.
  14. Both Sides of the Blade
    How strange that a filmmaker as idiosyncratic and fearless as Denis has made such a generic, tentative film.
  15. Before, Now & Then
    It’s a pity for both Salma and Basuki, whose expressive faces convey depths of feeling that the script and direction cannot quite match.
  16. The Passengers of the Night
    It’s an inviting, paradigmatic story of female self-discovery and empowerment, so it’s too bad that the movie’s hold on you proves far less firm than Gainsbourg’s.
  17. House Party
    Like any rager gone south, the buzz is fun early on, until it’s suddenly too much, the house is overrun, and the room starts spinning.
  18. The Burning Sea
    We get little more than a bland romance, smoothly professional special effects and a story that’s finally too predictable to raise the heart rate.
  19. Ultrasound
    There are some promising glints here and there, flashes of mordant wit and obvious ambition. But like too many movies, Ultrasound is better at setting up its story than delivering on its promise, as if the filmmakers were still pitching ideas in the elevator.
  20. Butter
    For all its ache and churning emotions, “Butter” winds up being little more than a meager “Afterschool Special.”
  21. Offseason
    Despite a wonderfully eerie atmosphere, this moody examination of guilt and mourning is too generic to scare and too predictable to surprise.
  22. Wonka
    The movie is overly busy, as these kinds of eager-to-please diversions tend to be, and at two hours it overstays its welcome.
  23. Not Okay
    As satires go, this one by the writer and director Quinn Shephard is hardly subtle — but though it lacks narrative finesse, Not Okay is brimming with provocative in-jokes for the extremely online.
  24. Love After Love
    What could make for a captivating story involving a transgressive love triangle is, even on a micro level, ineffective.
  25. Soft & Quiet
    The brutal possibilities of the white supremacist mind-set are nothing to shy away from. Still, the film’s admittedly jarring cruelty does little beyond press down on old bruises, turning the realities of racialized violence into an immersive spectacle with the kind of real-world sadistic allure one might find in a serial-killer movie.
  26. Atlantide
    Had Atlantide granted deeper access to Daniele and Maila, these images might have lent a moody complement to the characters and their struggles. As is, any sense of meaning is cast adrift in a sea of pretty pictures.
  27. Secret Headquarters
    When the kids are just doing kid stuff . . . Secret Headquarters has the playful, mischievous air of something like “The Goonies.” When the kids acquire some of the Guard’s superpowers and start flying around and fighting baddies, it has the air of … well, of just another superhero movie.
  28. Spellbound
    It isn’t fair to say that “Spellbound” lacks musical or visual invention. Zegler can belt out a song, and the evil storm that transmogrified the royals is pleasingly lo-fi. (It looks like a scribble-scrabble twister.) But the magic feels distinctly, almost insultingly poached.
  29. Bad Axe
    This is a hermetic story, but one wishes that Siev had balanced its coziness with acuity.
  30. King Otto
    Somewhat gratingly, King Otto treats its story as a tale of national stereotypes colliding head-to-head.
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