The New York Times' Scores

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For 20,271 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: 9,377 out of 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
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  1. Amsterdam
    Throughout, Russell keeps going and moving, moving and going, but the momentum never builds the way it should, and the big reveal lands flat partly because he never seems taken with the history he’s latched onto or comfortable with its heaviness. Or perhaps it’s the contemporary parallels that make him uneasy and why, again and again, he returns to the faces and filigree that he gets just right.
  2. The School for Good and Evil
    The film doesn’t have the space to expand all of its ideas and gracefully unfold its plot, which is full of so many narrative twists and reversals that The School for Good and Evil equates to a whole TV season untidily packed into a feature film.
  3. The Curse of Bridge Hollow
    Wadlow, a good horror director, seems hamstrung by the family-friendly context and struggles to develop tension in the absence of a plausible threat of violence.
  4. Decision to Leave
    From the very first destabilizing moments of this movie, Park dazzles you with the beauty of his images and the intoxicating bravura of his unfettered imagination. And then, just when you think you have found your bearings, he unmoors you yet once more, blowing minds and shattering hearts, yours included.
  5. Plan A
    Plan A never quite rises to the challenge posed by this remarkable chapter in history.
  6. Dark Glasses
    The best moments of the film involve Diana’s unsentimental alliance with Chin, the orphan who offers her more protection than she’s able to afford him. Their quirkily endearing relationship allows the horror legend to dabble in a genre that’s wholly new to him: the odd couple comedy.
  7. Rosaline
    The engine of this movie is snark, and Dever, overtaxed with carrying the comedy, brings a dauntlessness to the role, even during more daft moments.
  8. Till
    Chukwu revisits the past while doing something extremely difficult. She makes this grim American history insistently of the moment — and she does so by stripping the story down to its raw, harrowing emotional core.
  9. Halloween Ends
    Green has made a movie that’s less frantic and more intimate than its predecessor, one that unfolds with a mourning finality.
  10. The Same Storm
    It’s a well-intentioned gesture of solidarity that tries so desperately to be relatable, it feels alienating.
  11. Sepa: Nuestro Señor de los milagros
    It’s a provocative addition to the literature of incarceration.
  12. The Other Tom
    The film, directed by Laura Santullo and Rodrigo Plá, ultimately falls flat, with unconvincing dialogue and a strained delivery by the actors.
  13. Eternal Spring
    While the animation gives the documentary some distinction, the narrative can’t entirely shake the sense that this momentous but brief episode is scaled more for a short than a feature.
  14. Sell/Buy/Date
    Jones — who wrote, directed and stars in the film — doesn’t treat the tensions between exploitation and empowerment, personal agency and systemic cruelties, as binaries. Instead, they are riveting, confounding and, as exchanges between Jones and her mother attest, personal.
  15. Stars at Noon
    The results are sometimes wobbly, but this much remains stable: No living director better understands the politics of sensuality, the terrible power of light and shadow on skin.
  16. Battleground
    The documentary is a cookie-cutter presentation intent on showing viewers how leaders of the anti-abortion movement have managed to advance their goals and consolidate power by mobilizing an evangelical minority.
  17. Last Flight Home
    “Last Flight” is at once a memorial to Eli, the last of that generation of the family to die, and — almost incidentally — a philosophical argument about how death can be faced well.
  18. Pretty Problems
    An overlong, undercooked comedy of manners about how, yes, indeed the rich are different.
  19. The Visitor
    Filmed in and around New Orleans, “The Visitor” isn’t a terrible movie, just a tired one.
  20. Hinterland
    If only the story of Hinterland felt as engrossing and alive as its setting.
  21. Luckiest Girl Alive
    Kunis’s alpha female appears at once ferocious and like a conspicuous sham. (Imagine Sheryl Sandberg as a “Scooby-Doo” villain.) Her performance carries the film — a fortunate break for the director Mike Barker, who has the near-impossible challenge of shepherding the tone from snark to painful sincerity.
  22. Significant Other
    Significant Other does not reinvent the genre, but its narrative flourishes make for an exciting outing.
  23. The Swimmer
    Kalderon and the cinematographer Ofer Inov make Adonises out of the film’s athletes, but the film goes beyond mere marble-body ogling in its equal attention to the physical, psychological and emotional toll that training takes on Erez and Nevo.
  24. Onoda: 10,000 Nights in the Jungle
    The light provides wordless, and conveniently apolitical, explanation for why a person might endure nearly three decades (or in cinematic terms, nearly three hours) without action.
  25. Piggy
    Pereda, who also wrote the script, is not afraid of psychological and moral ambiguity: It’s obvious that she is on Sara’s side — the bullying scenes are much harder to watch than the bloody ones — but she also knows that shame, guilt and secrecy fester into messy situations and messy people.
  26. Hellraiser
    As an ambitious allegory for the chaos and torment of addiction, Hellraiser works mainly because of A’zion, who gives her scattered character a deeply human desperation.
  27. Mr. Harrigan's Phone
    There’s a bittersweetness to Craig and Harrigan’s friendship and good chemistry between the leads.
  28. Lyle, Lyle, Crocodile
    "Lyle” has a brisk, whimsical momentum that is utterly infectious in the early going. Then it stops dead.
  29. Triangle of Sadness
    This, in the end, is a very bad movie, executed with enough visual polish and surface cleverness to fool the Cannes jurors, something Ostlund has done twice. Shame on them! But maybe we shouldn’t be surprised.
  30. TÁR
    To search the movie for a consistent argument is to miss the point and fall into a category error, misconstruing the extraordinary coup that Field and Blanchett have pulled off. We don’t care about Lydia Tár because she’s an artist; we care about her because she’s art.
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