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. Tuesday, After Christmas
    The strength of Tuesday, After Christmas, Mr. Muntean's fourth feature, lies in its rigorous, artful and humane fidelity to quotidian circumstance.
  2. The World's End
    The buzz of The World’s End is more like an antic sugar high than a reeling, drunken stupor. There are no headaches, dry mouth or crushing shame at the end — no “Hangover,” in other words. I’ll drink to that.
  3. Racing Extinction
    It’s the film’s sounds that really wrench. If you’ve ever wondered what a breaking heart sounds like, it’s right here in the futile warble of the last male of a species of songbird, singing for a mate that will never come.
  4. Thy Father's Chair
    The movie, directed by Antonio Tibaldi and Alex Lora, is quiet and quietly moving and quite different from “Hoarders” in its steady pace and poetic vérité style.
  5. Invisible Hands
    Rich in information and dense with quiet outrage, Shraysi Tandon’s debut feature, the investigative documentary Invisible Hands, jumps into the murky and shameful world of child trafficking and forced labor.
  6. Chinese Portrait
    Its primary interest lies in the tension between candid moments and shots that appear artfully composed.
  7. Destry Rides Again
    A bit of the old West with a good bit of the old Dietrich in it; a tightly written, capitally directed show, with perfectly grand supporting performances.
  8. Listening to Kenny G
    As a music industry story, Kenny G’s rise, engineered by the mogul Clive Davis but at times bucked by the artist himself, is fascinating.
  9. Mountains
    As a drama, Mountains, whose characters move fluidly between English and Haitian Creole, is too low-key to leave much of an impression. But as a portrait of intergenerational tensions in an immigrant family, it is poignant, and it captures an area of Miami that is rarely seen onscreen.
  10. Skin Deep
    What does love really mean? Skin Deep gives an answer: that real love is an act of radical imagination, of working to understand what it feels like to be another person. In reality, we can’t just swap bodies to find out — but love beckons us to try anyhow.
  11. Lost Illusions
    Giannoli illuminates the dank frenzy of the 19th-century attention economy with an eye on our own post-truth era. Lost Illusions is sensational. Nobody paid me to say that. Well, actually, The New York Times did, but you should believe me anyway.
  12. Menashe
    For sure, this funny and tender film prompts cheerful smiles, but sometimes they turn melancholy.
  13. District 9
    In the best B-movie tradition, the filmmakers embed their ideas in an ingenious, propulsive and suspenseful genre entertainment, one that respects your intelligence even as it makes your eyes pop (and, once in a while, your stomach turn).
  14. The World
    Loosely constructed, The World drifts along pleasantly for much of its two-and-a-half-hour running time. Mr. Jia has a terrific eye and an almost sculptural sense of film space (especially in close quarters), and he brings texture and density to even the most nondescript rooms.
  15. Picnic at Hanging Rock
    The result is a movie that is both spooky and sexy.
  16. Ai Weiwei: Never Sorry
    The fluidity and convenience of digital moviemaking tools explain some of its freshness, as does Ms. Klayman's history as a budding documentarian. It's clear from watching both the feature and its earlier iterations that, while she was learning about Mr. Ai, she was also learning how to tell a visual story. It's easy to think that hanging around Mr. Ai, a brilliant Conceptual artist and an equally great mass-media interpolater, played a part in her education.
  17. Nitram
    The killings themselves may remain off-camera, but the movie is still an uncomfortable watch. In Jones’s smoldering performance, we see a man stretched beyond his limits, a rubber band just waiting to snap back.
  18. Woman at War
    Approaching weighty themes with a very light touch, Benedikt Erlingsson’s Woman at War is an environmental drama wrapped in whimsical comedy and tied with a bow of midlife soul-searching.
  19. The Night of the 12th
    This is a refreshingly grounded, deceptively plain picture of crime-fighting as a grind of false leads, workplace fatigue and no closure.
  20. The Nest
    If Durkin’s writing doesn’t always match his formal flair, The Nest has a bracing economy, cramming a lot into tight quarters.
  21. To Live and Die in L.A.
    To Live and Die in L.A. is Mr. Friedkin at his glossiest, a great-looking, riveting movie without an iota of warmth or soul. On its own terms, it's a considerable success, though it's a film that sacrifices everything in the interests of style.
  22. Right Now, Wrong Then
    Contemplating both tales in succession can induce a far from unpleasant sense of vertigo, a feeling of standing at the edge of an abyss of wide-open philosophical questions and deep psychological mysteries.
  23. For They Know Not What They Do
    Its success comes from interrogating the cultural assumption that there is no space for a range of sexual orientations and gender identities within religious communities.
  24. Sabbath Queen
    [A] fascinating look at the act of questioning yourself and your family, your surroundings and your decisions.
  25. Ford v Ferrari
    Ford v Ferrari is no masterpiece, but it is — to invoke a currently simmering debate — real cinema, the kind of solid, satisfying, nonpandering movie that can seem endangered nowadays.
  26. Bad Education
    Bad Education is a voluptuous experience that invites you to gorge on its beauty and vitality, although it has perhaps the darkest ending of any of the films by the Spanish writer and director.
  27. The Voice of Hind Rajab
    As wrenching as The Voice of Hind Rajab is, there is something uneasy-making about turning a child’s harrowing cries for help into a pretext for metacinematic flourishes. Hind’s story does not need that kind of intellectualized gimmickry, in which recordings of authentic terror serve as proof of the staging’s verisimilitude.
  28. The Mitchells vs. The Machines
    The Mitchells vs. the Machines not only has laughably eccentric characters but also a script packed with bonkers, fast-paced action — with elaborate, wild visuals to match.
    • 81 Metascore
    • 90 Critic Score
    Bullitt
    A terrific movie, just right for Steve McQueen—fast, well acted, written the way people talk.
  30. The Chambermaid
    The film’s style is austere — there are few camera movements and no musical score — but its visual wit and emotional sensitivity lift it above the minimalist miserablism that drags down so many well-meaning films about modern workers. After you’ve seen it, the world looks different.
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