The New York Times' Scores

Select another publication »
For 20,278 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: 9,380 out of 20278
  2. Mixed: 8,434 out of 20278
  3. Negative: 2,464 out of 20278
20278 movie reviews
view
per page
  1. The True Adventures of Wolfboy
    No one could accuse these adventures of being conventional.
  2. Fire Will Come
    Fire Will Come practically becomes a documentary, and a devastating one at that.
  3. Come Play
    Come Play feels secondhand in its overarching conceit, its scare tactics and even its sentimentality.
  4. The Donut King
    Too sentimental in its final act, “The Donut King” doesn’t quite manage to connect the dots between Ngoy’s financial troubles and the voracious capitalism that enabled his rise. The result is a cheery portrait of immigrant entrepreneurship that lacks political punch.
  5. Madre
    The result is an unusually compelling character study, one that, commendably, opts to end on a humane note rather than a dark judgment.
  6. Spell
    Laden with references to race, class and the legacy of slavery, Spell, directed by Mark Tonderai from a script by Kurt Wimmer (a pen on the “Point Break” and “Total Recall” remakes), is stronger on maintaining suspense and a macabre atmosphere than it is at following through on its ideas, which give it a thin veneer of topicality.
  7. Holidate
    Far worse than these characters’ grating personalities are the regressive strains underpinning their flirtation.
  8. The Craft: Legacy
    Zoe Lister-Jones’s The Craft: Legacy, produced by Blumhouse (“Get Out”), is a disappointing distillation of the original that’s mostly devoid of personality.
  9. What the Constitution Means to Me
    Schreck succeeds in widening her autobiographical play into a paean for basic fairness: The American Constitution, admired as it is, fails to protect all of us from violence and discrimination.
  10. Coming Home Again
    Wang — using a direct, unadorned shooting style — along with his cast (Justin Chon, who’s been around for some time, makes a strong impression as Chang-rae) put them across with unusual integrity.
  11. Borat Subsequent Moviefilm
    The elaborate ruses of Borat Subsequent Moviefilm left me neither entertained nor enraged, but simply resigned.
  12. Radium Girls
    The script, by Mohler and Brittany Shaw, tends to be overtly formulaic, but the emotional resonance of the two leads carries this movie.
  13. Ham on Rye
    Taormina purposefully dresses his cast and designs their environment in a way that throws them into a sort of temporal never-never land. He achieves a number of other startling effects in this impressive movie, which sheds its naturalism slowly as it embraces a surrealism that’s both disquieting and poignant.
  14. Over the Moon
    Over the Moon deserves credit for launching an unflinching lesson about grief. If only it had taken a different flight path.
  15. Synchronic
    Moorhead and Benson don’t overlook the more amusing aspects of the scenario . . . . And the duo deliver shocks, scares and a resonant payoff.
  16. Midnight in Paris
    A week is too short a time frame. A longer view might have left a deeper impression.
  17. The Place of No Words
    It’s sweet, personal and tedious.
  18. Friendsgiving
    At the heart of Friendsgiving, like many movies of its kind, is a story about the importance of family (both blood and chosen). But the film also captures, with a deft mix of earnestness and humor, the messiness of grief.
  19. Bad Hair
    Despite the potentially heavy (or heavy-handed) material, Bad Hair is self-consciously and pleasingly campy, and it delivers a new cinematic monster: the sew-in weave.
  20. The Witches
    Zemeckis improves on the first film adaptation, a 1990 oddity directed by Nicolas Roeg. There’s more heart in the new version and more emotion, qualities which can go missing in those Zemeckis movies that get lost in his technical whiz-bangery.
  21. Rebecca
    This Rebecca can’t really suffer in comparison to its predecessor. To suffer it would need nerves, a pulse, a conscience, or at least some idea of its reason for being.
  22. White Noise
    Close observation can illuminate contradictions, and Lombroso, semi-edifyingly, catches his subjects in moments of opportunism or hypocrisy, even if those aren’t much of a trade for spending 90 minutes in this company.
  23. The Goddess of Fortune
    The details of this engaging and sometimes heart-tugging picture are entirely contemporary.
  24. Freedia Got a Gun
    Freedia’s beguiling charisma carries the film, and it makes the case that her impressive power, in conjunction with collective action, could help carry a movement, too.
  25. The Devil Has a Name
    Clearly well-intentioned, The Devil Has a Name means to deliver an inspirational lesson about the depravity of big industry and the power of the little guy. But it’s mostly a muddle.
  26. Belly of the Beast
    Belly of the Beast does not reach for happy endings and is most absorbing in its thesis, which makes the stakes of this battle against human rights violations loud and clear.
  27. White Riot
    One of the many things that White Riot, a documentary about RAR directed by Rubika Shah, brings home is that the world could still use more somethings against racism.
  28. Clouds
    While Clouds is as doe-eyed and puppyish as an acoustic serenade, Baldoni is wise to recognize that attention must be paid to Zach’s survivors.
  29. Shithouse
    Raiff deserves credit for an unexpectedly elliptical coda, but much of the chatter between the leads has the emo-tedium of dorm room blather.
  30. Love and Monsters
    Love and Monsters lacks the self-seriousness of typical dystopian flicks but, despite its surprisingly perfunctory title and relatively thin plot, it doesn’t completely lack depth.
Page:

Top Trailers

See all »
See all trailers »