The New York Times' Scores

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For 20,280 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: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. Everybody Knows... Elizabeth Murray
    [A] cogent, fascinating portrait of the artist.
  2. Saving Banksy
    [A] fascinating documentary.
  3. The Wedding Plan
    In a complicated role, the excellent Ms. Koler exudes a kind of flighty confidence: For all her nuptial-related anxieties, Michal is completely comfortable with who she is.
  4. Murder on the Orient Express
    Like the lovely, extravagantly overemphasized nineteen-thirties' costumes and production designed by Tony Walton, Murder on the Orient Express is much less a literal re-creation of a type of thirties movie than an elaborate and witty tribute that never for a moment condescends to the subject.
  5. Golden Exits
    Mr. Perry is such a good filmmaker that he can make the embarrassing and the unbearable insistently, fascinatingly engrossing (and often funny).
  6. Donald Cried
    Donald Cried is an acutely insightful, exquisitely written and acted triumph for Mr. Avedisian, who understands how the past permanently clings to us.
  7. Call Me by Your Name
    Call Me by Your Name is less a coming-of-age story, a tale of innocence and loss, than one about coming into sensibility. In that way, it is about the creation of a new man who, the story suggests, is liberated by pleasure that doesn’t necessarily establish sexual identity.
  8. Mudbound
    It’s a work of historical imagination that lands in the present with disquieting, illuminating force.
  9. Wind River
    An actor before he was a screenwriter, Mr. Sheridan clearly spent a lot of his time learning about filmmaking on movie sets; his direction is assured throughout.
  10. Beach Rats
    The back-and-forths of the character’s decisions feel real, and Mr. Dickinson’s laconic blankness (you would never guess the actor was British) helps to give the character’s existential crisis a charge. Ms. Hittman is also assured enough to know it can’t be easily resolved.
  11. God's Own Country
    God’s Own Country weaves a rough magic from Joshua James Richards’s biting cinematography and the story’s slow, unsteady arc from bitter to hopeful.
  12. Marjorie Prime
    There’s more going on in this movie’s 90-plus minutes than in many summer blockbusters nearly twice its length.
  13. Menashe
    For sure, this funny and tender film prompts cheerful smiles, but sometimes they turn melancholy.
  14. The Yellow Birds
    Capped by a truly lovely final shot, The Yellow Birds (the title comes from a particularly cruel Army cadence) is about unseen wounds and wasted lives. The closer we get to these young men, the closer we are to wondering how many more of these stories we can bear to hear.
  15. Brigsby Bear
    Mr. Mooney, currently cutting it up on “Saturday Night Live,” manages the twists and tonal fluctuations in Brigsby Bear beautifully.
  16. The Other Side of Hope
    The deadpan style of the acting functions as a vaccine against sentimentality, but there is no doubting the sincerity of this movie’s motives or the effectiveness of its methods.
  17. The Young Karl Marx
    The great virtue of The Young Karl Marx is its clarity, its ability to perceive the way the eddies of personal experience flow within the wider stream of history.
  18. Orlando
    This ravishing and witty spectacle invades the mind through eyes that are dazzled without ever being anesthetized
  19. Félicité
    Mr. Gomis’s cinematic style is spectacularly multifaceted.
  20. Have a Nice Day
    Leisurely and deliberate, intelligent and casually cruel, Have a Nice Day is a stone-cold gangster thriller whose violence unfolds in passionless bursts.
  21. Uncertain
    While scenes of the lake and land are magnificent, there are repulsive sights and stories, too. Whether inspiring or upsetting, all feel authentic.
  22. The Survivalist
    Impressively lean and rigidly controlled, “The Survivalist” achieves, at times, the primitive allure of a silent movie.
  23. Summer 1993
    Summer 1993 is movingly understated and beautifully acted.
  24. Glory
    The variable incongruities of Glory give it a queasy power uncommon in contemporary cinema. It’s the feel-bad movie of the spring.
  25. Tomorrow
    It’s refreshing to see concrete solutions at work, many of them at the grass-roots level. And the optimism of those countering ineffective politicians and big business is infectious.
  26. Nise: The Heart of Madness
    It’s a study of courageous innovation against an entrenched medical orthodoxy.
  27. The Day After
    The Day After, one of three films this prolific director brought to festivals in 2017 (another one screened in Berlin in February), is an especially elegant presentation of some of his [Mr. Hong’s] characteristic concerns.
  28. Happy End
    It has an uncommonly strong ensemble cast...but the movie belongs to Mr. Trintignant.
  29. Support the Girls
    Mr. Bujalski, who wrote as well as directed, doesn’t lean on shocks and big moments to spark tension or spur the narrative. A fine-grain realist, he creates modest, layered worlds and identifiably true characters, filling them in with details borrowed from life rather than the multiplex.
  30. The Sword in the Stone
    The picture makes an eye-filling package of rollicking fun and thoughtful common sense. The humor sparkles with real, knowing sophistication.
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