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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    • 80 Metascore
    • 60 Critic Score
    The Public Enemy
    It is just another gangster film...weaker than most in its story, stronger than most in its acting, and like most maintaining a certain level of interest through the last burst of machine-gun fire.
  2. Whale Rider
    Wickedly absorbing.
  3. The Mill and the Cross
    In this lush and hypnotic examination of a painter's work and the times in which he lived, Mr. Majewski presents an extended contemplation of the creative process itself.
  4. Lean on Pete
    There’s almost a cosmic dimension to some of the most beautiful passages, as if the world (call it nature or God or sensitive direction) were holding Charley in its embrace.
  5. Sunset Story
    One of the strengths of Sunset Story is that it introduces us to a pair of extraordinary women who have kept their dignity and independence in a world that conspires against them having either. The story of Lucille and Irja may break your heart, but it will also make your day.
  6. Claire's Camera
    Ms. Huppert’s presence — steady, warm, thoughtful but with a casual air — keeps the entire enterprise classically comedic.
  7. Last and First Men
    Johannsson’s stark, uncompromising passion project is always striking to the eye even in moments when the narrative lulls.
  8. Bergman Island
    It’s a movie that isn’t quite sure whether it wants to be one, or which one it wants to be. Which makes it feel like more than just a movie.
  9. Aida's Secrets
    In this time of mass displacement across the globe, it is a stark reminder of how traumatic the refugee experience often is.
  10. Apocalypse '45
    Apocalypse ’45 knows that war is hell for everyone. But it’s difficult to escape the sense that, in this film’s view of history, America is top of mind.
  11. Barbie
    Gerwig does much within the material’s inherently commercial parameters, though it isn’t until the finale — capped by a sharply funny, philosophically expansive last line — that you see the “Barbie” that could have been.
  12. Minority Report
    Though he can still deliver an amazing scare, Mr. Spielberg's interest now leans more toward exposition rather than the anticipatory. He is explaining the fun away.
  13. We the Animals
    Fragile yet resilient, We the Animals has an elemental quality that’s hugely endearing, using air and water and the deep, damp earth to fashion a dreamworld where big changes occur in small, sometimes symbolic ways.
  14. Wild Rose
    First and foremost, the movie, written by Nicole Taylor and directed by Tom Harper, is a superb showcase for Jessie Buckley. Doing her own singing, Buckley is a rich, startling vocalist who if anything seems to under-excite the crowds she performs for.
  15. The Simpsons Movie
    The Simpsons Movie, in the end, is as good as an average episode of "The Simpsons." In other words, I’d be willing to watch it only -- excuse me while I crunch some numbers here -- 20 or 30 more times.
  16. Off the Rails
    An assured and thoughtful debut.
  17. Strange Darling
    Playing out in six, ingeniously scrambled chapters, this headlong thriller transforms a simple cat-and-mouse premise — and maybe even a toxic love story — into an impertinent rebuke to genre clichés and our own preprogrammed assumptions.
  18. Riding Giants
    Because the waves get progressively higher in Riding Giants, Stacy Peralta's historical surfing documentary, some of that thrill is sustained throughout this overlong but entertaining movie.
  19. Jung (War) in the Land of the Mujaheddin
    Essential viewing for anyone who desires a sense of the finer human grain of a war that now commands the attention of the world as never before.
  20. Set Me Free
    Propelled by a captivating, wrenching performance by Karine Vanasse as Hanna, a 13-year-old girl adrift in a sea of powerful emotions in Montreal in 1963.
    • 80 Metascore
    • 50 Critic Score
    Bring Me the Head of Alfredo Garcia
    The movie's main problem is that the protagonist - the dead head - is a bore.
  22. Boy and the World
    It’s both the best children’s animated film this year since “Inside Out” — you might call it “Outside In” — and, unexpectedly, a more stirring depiction of the deadening modern megalopolis than most heal-the-world documentaries.
  23. Finders Keepers
    Revealing its humanity slowly and a little tardily, Finders Keepers finally does justice to its dueling antiheroes.
  24. Babylon
    All of that observation in Babylon amounts to something that still feels new. You’re looking at people who, in 1980 England, were, at last, being properly, seriously seen.
  25. Room 237
    Like “The Shining” and its maze within a maze, Mr. Ascher’s movie is something of a labyrinth. Puzzling your way through its compilation of vaguely lucid and crackpot ideas is pleasurable though, for avid movie lovers, it may also feel like a warning.
  26. The Eternal Daughter
    Hogg’s greatest stroke in The Eternal Daughter is her casting of Swinton in both lead roles. Swinton is a wonderful chameleon and while she can go as big and showy as any Oscar contender, she is also a brilliant miniaturist.
  27. The Settlers
    Gálvez’s work here is by turns blunt and subtle, and very assured.
  28. Personality Crisis: One Night Only
    A first-rate raconteur, Johansen — wearing a pompadour, sunglasses and bespoke suit — brings the funk. The storied Café Carlyle delivers the chic.
  29. The Beast
    This shamelessly ambitious epic is about, among other things, civilizational collapse and existential retribution, yet it is held together by something delicate.
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