The New York Times' Scores

Select another publication »
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
view
per page
  1. Seance
    Seance meanders for most of its running time, wavering between tones and styles. It’s both self-aware and overly serious. It tries to be a murder mystery, a slasher, a coming-of-age tale and a haunted house flick all at once.
  2. This Town
    White squanders the opportunity for true satire, speeding past the many topical issues kicked up by the script — police corruption, mental health, gun crime — into a feel-good conclusion that leaves a bad taste in the mouth.
  3. When Hitler Stole Pink Rabbit
    The film strains to inject even a modicum of drama.
  4. Two Gods
    Ali brings a matter-of-fact compassion to the experiences of three different people: Hanif, a Black Muslim man in Newark, and the two boys he is mentoring, Furquan and Naz.
  5. Two Lottery Tickets
    Negoescu has adapted a short story by Ion Luca Caragiale from 1901, and the lottery ticket concept is not necessarily novel, but he gives the film fresh zest with droll observations and pitifully endearing characters — all while poking meta fun at the austere Romanian New Wave movement he works within, and works to dismantle.
  6. Into the Darkness
    While the plot is absorbing, the movie continually has characters voice their motivations, leaving little to subtext.
  7. Dream Horse
    This sports underdog story, which is based on true events, has several features endemic to the genre. But Dream Horse, an unabashed crowd-pleaser directed by Euros Lyn, earns its smiles and cheers.
  8. New Order
    Franco practically dares the viewer to call his conclusion far-fetched. And for better or worse, the director’s dynamic filmmaking makes some of his projections stick.
  9. Spring Blossom
    Lindon stages an intentional anticlimax that feels confusingly abrupt and unconvincing. Yet her point is well taken: that the desires of young people are as fickle and ephemeral as flowers in full bloom.
  10. Army of the Dead
    With its sticky pacing and divinely unsubtle soundtrack (though The Cranberries’ “Zombie” is always excusable), Army of the Dead is an ungainly, yet weirdly mesmeric lump of splatter-pop filmmaking.
  11. The Dry
    The many red herrings and the dark-secret finale recall the reliable, compulsive appeal of a page-turner, although the tensions don’t always feel fully translated to the rhythms and demands of a film.
  12. Broken Harts
    With a bolder and broader framework, Broken Harts might have been more than fast food for true-crime obsessives.
  13. Stop Filming Us
    Postema’s interlocutors respond with candid critiques, but the director’s self-flagellation feels increasingly empty — less a reckoning with neocolonialism than a toothless display of white guilt. His critical insights are thin, too.
  14. Georgetown
    The cast can only do so much with thin material, and Waltz, duping and swindling grandly, isn’t equipped to make the long con interesting.
  15. There Is No Evil
    To make a movie that ponders the moral rot of an unjust system while under the gun of that unjust system is courageous and artistically potent.
  16. Enfant Terrible
    The film feels both hermetic and declarative, and it’s folly to constantly remind a viewer of Fassbinder’s impossible-to-replicate alchemy of color, lighting, angles and passion.
  17. The Woman in the Window
    The result is something that intermittently looks and sounds like a good movie without ever actually being one.
  18. Rockfield: The Studio on the Farm
    This stuff is best appreciated by rock mavens. Many of the other bands telling their stories (including the Boo Radleys and the Charlatans) didn’t have much of an impact in the States, so Anglophilia helps, too.
  19. Spiral: From the Book of Saw
    The premise is disingenuous at best and, in a moment where scores of citizens are calling for widespread police reform, fearmongering at worst. Like Jigsaw offering one of his facile riddles, this film is not as clever as it thinks it is.
  20. Riders of Justice
    In the end, Jensen opts for feel-good fantasy over hardened truths, but his dizzyingly chaotic methods amount to a dynamic, unexpectedly touching ode to the difficulties of baring your vulnerabilities to genuinely overcome them.
  21. The Perfect Candidate
    The movie’s lived-in acting and unhurried pace make it a better-than-palatable viewing experience.
  22. The Djinn
    The film betrays its own less-is-more philosophy and becomes weighed down by exposition — but it’s a tense, thrilling ride nonetheless.
  23. Those Who Wish Me Dead
    New Mexico plays Montana, and not being familiar with the terrain, I was convinced by that. Accurate or not, the landscape gives as sensational a performance as any of the actors.
  24. Los Hermanos/The Brothers
    A moving documentary with generous amounts of music.
  25. Oxygen
    The premise is simple, but this twist-filled script by LeBlanc gives Laurent ample opportunity to shine. Because of its limited setting, the film hangs on Laurent’s acting ability, and she gamely vaults between elation, terror and determination.
  26. State Funeral
    Composed entirely of footage shot at the time in various parts of the Soviet Union, the film is a haunting amalgam of official pomp and everyday experience, the double image of a totalitarian government and the people in whose name it ruled.
  27. Monster
    Based upon a 1999 young-adult novel by Walter Dean Myers, Monster conveys the ache for all that its protagonist could lose, but it can’t escape the dramatic ruts of its own creation.
  28. Wrath of Man
    Ritchie reveals crucial story points with clever time-juggling editing, and keeps up the tension well into the movie’s climax, which delivers exactly what the viewer will have come to hope for.
  29. The Boy from Medellín
    Heineman delivers a relatively sophisticated form of celebrity publicity in this film, armed with stunning concert footage but unoriginal insights into the burdens of modern fame, like the difficulty of balancing the expectations of fans with personal desires.
  30. Queen Marie
    Romania has delivered some of the most bracing filmmaking of the past 20 years (“The Death of Mr. Lazarescu,” “4 Months, 3 Weeks and 2 Days”), but Queen Marie shows that its cinematic output also extends to stiff, exposition-clotted biopics.
Page:

Top Trailers

See all »
See all trailers »