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. Street Gang: How We Got to Sesame Street
    Even those resistant to easy nostalgia will find plenty to think about.
  2. Paris Calligrammes
    The filmmaker has what seems like a torrent of anecdotes and attendant ideas to impart, but the movie never feels rushed.
  3. Wet Season
    Wei Lun comes off as one-dimensional in his brash, immature pursuit of Ling, yet their illicit relationship is portrayed in an anti-sensationalist light, blurring the lines between maternal and romantic love.
  4. Sisters with Transistors
    This film is informative and often fascinating.
  5. Stowaway
    For all the empathy it expects of its viewers — every character cries onscreen at least once — the film is troublingly removed from human reality.
  6. Together Together
    Sweet, sensitive and surprisingly insightful, Nikole Beckwith’s Together Together fashions the signposts of the romantic comedy — the meet-cute, the misunderstanding, the mutual acceptance — into a wry examination of a very different relationship.
  7. Arlo the Alligator Boy
    Long before the motley crew crashes the Met Gala, it’s clear that director Ryan Crego is bolting wacky gee-gaws onto a rote plot. Still, several gags pay off.
  8. Ride or Die
    The movie gracefully captures the rhythms of intimacy, how it deepens quicker in stolen time. But even as they develop a kinship, the women themselves remain ciphers.
  9. The Banishing
    The Banishing never finds its groove.
  10. Hope
    Raw, melancholy and unquestionably mature, Hope understands that some wounds may never be healed. Even so, it takes a brave movie to hold that stance until its very last second.
  11. Why Did You Kill Me?
    Just because a crime is true doesn’t mean it’s interesting. And as Why Did You Kill Me? makes clear, without substance, a dash of style won’t do.
  12. Beate
    The director Samad Zarmadili cobbles together this underdog story like a slapdash sitcom episode.
  13. Bill Traylor: Chasing Ghosts
    This documentary, directed by Jeffrey Wolf, is a plain, sincere, nourishing account of the artist.
  14. Monday
    While Monday is not quite as bracing as Papadimitropoulos’s prior feature, “Suntan,” it’s a sharply observed, well-acted picture with a lot of tart detail and a few real stings in its tail.
  15. We Broke Up
    The overwhelming impression is that of shrillness. It’s a tone that might be familiar to those who have experienced a broken heart, but this shallow exercise offers meager opportunity for discomfort to transform into either entertainment or contemplation.
  16. In the Earth
    If the bigger picture of In the Earth doesn’t appear fully realized — this is a movie not just of the moment, but perhaps rushed to meet it — it would be difficult, this year, for at least some of its atmosphere of isolation-induced madness not to inspire a chill.
  17. Our Towns
    As enjoyable as their writing can be, the filmmaking around them — aerial shots, time lapse photography, cuts to the couple looking engrossed — is less inspired than their project.
  18. Shiva Baby
    It’s rare for a film to simultaneously balance such wildly divergent tones, to interweave big laughs with gut-wrenching discomfort, but Seligman pulls it off.
  19. Future People: The Family of Donor 5114
    Although Future People struggles to break through to the kids, an engaging family portrait emerges nonetheless — of a group clustered by biology, but bonded by a singular shared experience.
  20. Thunder Force
    Thunder Force, the latest in a string of dismal comic collaborations between Melissa McCarthy and her husband, Ben Falcone, does nothing to improve upon its predecessors.
  21. Looking for a Lady with Fangs and a Moustache
    At least for the uninitiated, the drift of the filmmaking seemed to fall short of the transcendence envisioned by its story.
  22. The Tunnel
    The human dimension is painfully cliché, and Oie’s clunky orchestration of intersecting individual stories flattens the film’s overall momentum. It does, however, manage to eke out moments of genuine suspense and harrowing claustrophobia with its straightforward premise and contained, small-scale action.
  23. The Power
    The film stumbles in delivering a cohesive vision.
  24. Moffie
    In depicting the horrific specifics of this particular man’s awful military experience, Hermanus delivers in abundance.
  25. Voyagers
    This dull dig into human nature owes more to the aesthetics of Calvin Klein than the terrors of outer space.
  26. Slalom
    The writer and director, Charlène Favier, had previous experience as a competitive skier, and she is attentive to the textures of mountainside sports and how abuse plays out in this setting.
  27. Giants Being Lonely
    Nothing concrete emerges from this haze of oblique editing and barely written scenes, acted by cast members who are not up to making the dialogue sound convincing or filling the voids left in place of their characters.
  28. Małni—Towards the Ocean, Towards the Shore
    An undeniable melancholy — a sense of loss — pervades the film. Yet it is never resigned. The ghosts of history live among us. To ignore their presence, “Małni” seems to say, is to forget who we really are.
  29. Malmkrog
    Imagine a Chekhov play without drama, an Oscar Wilde farce without humor, a Visconti film without desire, or a very long party at the home of a distant acquaintance, and you will have some idea of Malmkrog, Cristi Puiu’s latest film.
  30. The Man Who Sold His Skin
    The lustrously shot movie breaks Sam out of the gallery grind through Hollywood-grade somersaults in storytelling (one of them so breezily violent as to feel a little tasteless)
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