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. The Royal Hotel
    Inspired by Pete Gleeson’s 2016 documentary about two Finnish backpackers, “Hotel Coolgardie,” The Royal Hotel is after something more subtle than pure horror.
  2. Kramer vs. Kramer
    Kramer vs. Kramer is densely packed with such beautifully observed detail. It is also superbly acted by its supporting cast, including Jane Alexander, Howard Duff and George Coe.
  3. The Story of Film: A New Generation
    Cousins’s assessments offer plenty to argue with, but it’s possible to enjoy “A New Generation” without agreeing that “Booksmart” “extends the world of film comedy,” as he claims, or that a shot in “It Follows” merits comparison to the camerawork in Michael Snow’s landmark experimental film “La Région Centrale.”
  4. Best of Enemies
    Is this chronicle of their combat an occasion for nostalgia or a cautionary tale? The film’s perfectly sensible, not entirely satisfying answer is “both.”
  5. Buzzard
    With its casual deadpan attitude, Buzzard offers a nightmare portrait of arrested development and anomie for the age of inequality.
  6. WarGames
    An entertaining movie that, like a video game once played, tends to disappear from one's memory bank as soon as it's finished.
  7. Blanquita
    Unfolding like a David Fincheresque procedural and doused in gloomy grays and blues, the film, by the writer and director Fernando Guzzoni, may seem provocative to some in the context of #MeToo and its popular mantra to “believe women.”
  8. 24 Frames
    24 Frames can’t help but be affecting because it is Kiarostami’s final movie. But it’s intellectually uninvolving, and its technical limitations prove frustrating.
  9. God's Country
    The movie works best when it doesn’t over-explain and instead lets the land and the characters, the wide open spaces and the performances — especially Newton’s meticulously controlled turn — speak for themselves.
  10. Shanghai Triad
    However endlessly film makers around the world have told that story, Mr. Zhang reimagines it with immense grace and turns it into a deeply felt tragedy.
  11. Hairspray
    The actors are best when they avoid exaggeration and remain weirdly sincere. That way, they do nothing to break the vibrant, even hallucinogenic spell of Mr. Waters's nostalgia.
  12. Grass
    When the writer opts to just let things be, the movie is at its most content.
  13. Apolonia, Apolonia
    Apolonia, Apolonia is beguiling as a portrait of women with ambition, but also bittersweet.
  14. Red Riding Trilogy
    The Red Riding trilogy looks fine blown up on the big screen, though it’s easier to watch at home, where the remote offers fast relief from a grim fiction that, with its murky palette and unyielding cruelty, serves up a nihilistic vision that is unyielding, hermetic, unpersuasive and finally self-indulgent.
  15. The Three Musketeers
    Mr. Lester's interpretation of The Three Musketeers looks like an evening in a bump-o-car arena, with magnificently costumed people in place of cars. The adventures are less swashbuckle than slapstick.
  16. Personal Shopper
    Personal Shopper is sleek and spooky, seductive and suspenseful. It flirts with silliness, as ghost stories do. And also with heartbreak.
  17. Open Hearts
    Until the end, when it begins to go soft, the movie takes two strands of soap opera convention -- a life-changing accident and an adulterous affair -- and spins their suds into gold.
  18. 8 Mile
    What Mr. Hanson has done with 8 Mile is make a pop movie instead of a movie about pop. There's nothing disreputable about this.
  19. A Skin Too Few: The Days of Nick Drake
    A cinematic tone poem as much as a biography.
  20. Once Were Warriors
    A brutally effective family drama. Rough around the edges and crudely obvious at times, it still presents a raw, disturbing story of domestic strife.
  21. In Search of Memory
    It is an engrossing portrait all the same, a generous introduction to someone worth knowing, who knows an awful lot.
  22. Neighboring Sounds
    With his sound designer, Pablo Lamar, Mr. Mendonça has created the aural landscape of a horror movie. And, for much of its running time, a thriller without a plot.
  23. The Ghost Writer
    Mr. Polanski’s work with his performers is consistently subtle even when the performances seem anything but, which is true of this very fine film from welcome start to finish.
    • 77 Metascore
    • 90 Critic Score
    Ailey
    Like Ailey’s dances, the documentary leaves you swimming in sensation.
  25. The Teacher
    Ms. Maurery has great fun with the character, a tricky part because Maria nearly always maintains a kindhearted veneer, even at her most venal.
  26. Tatami
    The mounting tensions of these moving parts — and steely performances by Mandi and Amir — make for an engrossing thriller fueled by female rage.
  27. Babyteeth
    The movie has texture but no depth, tears but no snot. Who are these people, I kept wondering.
  28. The Jungle Book
    While this The Jungle Book is lightly diverting, it is also disappointing, partly because it feels like a pumped-up version of Disney’s 1967 animated film, with more action and less sweetness. It also feels strangely removed from our moment.
    • 77 Metascore
    • 80 Critic Score
    Monterey Pop
    It is possible that the way to a new kind of musical—using some of the talent and energy of what is still the most lively contemporary medium—may begin with just this kind of musical performance documentary.
  30. Zulu
    If you're not too squeamish at the sight of slaughter and blood and can keep your mind fixed on the notion that there was something heroic and strong about British colonial expansion in the 19th century, you may find a great deal of excitement in this robustly Kiplingesque film.
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