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. Self Reliance
    The movie is too juvenile and too timid to acknowledge the real-world chill of its online cabal of murderous social misfits.
  2. Last Stop Larrimah
    The bloat saps the fun and intrigue from the film, which can’t navigate between playing up eccentricity and committing to the notion that hell can be other people (even in a one-time refuge).
  3. Ordinary Angels
    Despite its bona fides, the movies narrative and characterizations practically gorge on clichés.
  4. A Good Person
    Braff is going for something broader than indie naturalism, so perhaps the film calls for less subtle brushstrokes. But the result is something that rings with far less thoughtfulness than he’s clearly capable of (particularly in light of the opioid crisis that the film mentions), despite Pugh’s remarkable attempts to ground the story.
  5. Chantilly Lace
    It is a quirky, ambitious, praiseworthy project that somehow becomes a victim of all the cliches it was invented to avoid.
    • 57 Metascore
    • 50 Critic Score
    Safe in Hell
    Safe in Hell is a little reminiscent of "The Unholy Garden," with its tropic sanctuary where rogues of various nationalities live out their days in happy oblivion, safe from the long arm of extradition. The theme is a good deal sadder, a sort of meldodramatization of all those sad songs about the women who will die rapturously for their men.
  7. Clock
    Clock is a psychological thriller, or perhaps even a satire, in horror clothing, tantalizing us with thought-provoking ideas, only to abandon them: nature versus nurture, the influence of the wellness-industrial complex over minds and bodies, the oppressive expectations placed on women — including by themselves.
  8. You Can Live Forever
    You Can Live Forever sticks to a fairly common coming-of-age trajectory.
  9. Honorable Men
    Honorable Men: The Rise and Fall of Ehud Olmert is a rare instance of a two-hour documentary that should have been an eight- or 10-hour mini-series, because it would take that long to clarify all the issues it raises, then present persuasive evidence.
    • 70 Metascore
    • 50 Critic Score
    Quo Vadis
    Within and around these visual triumphs and rich imagistic displays is tediously twined a hackneyed romance that threatens to set your teeth on edge.
  11. Gran Turismo
    The movie doesn’t need to achieve the same levels of sensation as a wildly popular racing simulator, but it should convey excitement and dynamism in its own cinematic way. When the novelty of watching a gamer become a driver wears off, we’re left with an adequate racing drama in a medium built for so much more.
  12. Please Don’t Destroy: The Treasure of Foggy Mountain
    The frustrating thing is that Marshall, Herlihy and especially Higgins really are funny, and the film has some huge laughs. That’s enough for a sketch show. It’s not quite enough for a film.
  13. They Might Be Giants
    A mushy movie with occasional, isolated moments of legitimate comedy, all provided by Mr. Scott with an assist by Mr. Goldman, whose sense of humor seems to surface in peripheral incidents only.
  14. Anxious Nation
    When it comes to the causes of this mental health crisis or the precise ways in which it manifests, the documentary falters, unable to distill its empirical material into insights.
  15. Calamity Jane
    In Technicolor, it looks good enough to eat. But the voracity with which Miss Day has at it and wolfs it down is unnerving to see. David Butler, who directed, has wound her up tight and let her go. She does everything but hit the ceiling in lashing all over the screen.This is not altogether entrancing.
  16. Four Quartets
    Fiennes brings the fire, yet the air around him remains unmoved, even by his embers.
  17. Wynonna Judd: Between Hell and Hallelujah
    The film plays like a country song with more chorus than verse.
  18. Centurion: The Dancing Stallion
    A formulaic family melodrama . . . which stars a stable of equine and human performers gamely mounting a Nicholas Sparks-like story line complete with romance across social classes, a conniving antagonist and grave health crises.
  19. Outlaw Johnny Black
    Outlaw Johnny Black struggles to establish a consistent comedic rhythm.
  20. Falcon Lake
    Death and desire swirl around the film’s charged atmosphere, though Le Bon has trouble meaningfully bringing out these elements in the narrative itself, hastily throwing in ambiguities in the last act to create a weightier sense of drama. The effect falls flat.
  21. Happiness for Beginners
    Happiness for Beginners is inoffensive to a fault.
    • 66 Metascore
    • 50 Critic Score
    The Broadway Melody
    The story was written by Edmund Goulding, and it is one that has not taxed his imagination severely, for it merely concerns the shattered illusions and hopes of two small-time dancing and singing girls who, having been successful in their sphere, decide to give Broadway the benefit of their talents.
  23. Poor Things
    It isn’t long into Poor Things that you start to feel as if you were being bullied into admiring a movie that’s so deeply self-satisfied there really isn’t room for the two of you.
  24. Unfinished Business
    It’s hard to begrudge Unfinished Business for emphasizing empowerment and sisterhood, but these women deserved more. They can take it.
  25. How to Have Sex
    Manning Walker sets the scene and stakes well enough, though after the millionth drink and shriek, whatever contact high you have is obliterated by a contact hangover. The largest problem, though, is that Manning Walker seems weirdly insensitive toward Tara, who endures a trauma that’s meant to say something about something — sex, consent, friendship — but mostly just gives the story some queasy heft.
  26. The Feeling That the Time for Doing Something Has Passed
    Arnow’s sophisticated point — the one referenced in the film’s unwieldy title — is what drives interest until our own spirits snap.
  27. Cobweb
    Cobweb, directed by Kim Jee-woon, mines the comically absurd reality that is filmmaking, at times with bouncy cinematic verve, at others somewhat aimlessly and a little too indulgently.
  28. Just Another Girl on the I.R.T.
    Just Another Girl on the IRT means to be instructive about teen-age pregnancies, but what it's saying is none too coherent.
  29. Rotting in the Sun
    Rotting in the Sun is sharpest when exploring the two men’s love-loathe connection because Silva threads a provocatively fuzzy line between fascination for and irritation with Jordan and, by extension, Firstman himself.
  30. The Amateur
    It felt a bit like the life was draining away from the movie the longer it went on — as if this was more of an imitation of a good movie than an actually good movie. (The technical name for this among critics is a “nothingburger.”)
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