The New York Times' Scores

Select another publication »
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
view
per page
    • 58 Metascore
    • 50 Critic Score
    The Glorias
    The intersectional core of the movement is rightfully emphasized, yet in the apparent push to make this movie as instructional and inspirational as possible, the dialogue gets saddled with some heavy-handed exposition.
    • 67 Metascore
    • 80 Critic Score
    American Murder: The Family Next Door
    Popplewell’s film presents the Watts story as more than a crime story. It is a thematic film about marriage and the deception of social media, as well as a piercing examination of domestic violence constructed with care and undeniable craft.
  3. Myth of a Colorblind France
    This is a huge subject, and the film, which favors anecdotes over a macro treatment, doesn’t have much structure to speak of. It consists of one brief profile after another — a strategy that is efficient for delivering information, but that leaves Myth of a Colorblind France dry and disarrayed as filmmaking.
  4. Public Trust
    The documentary is conventionally structured and sometimes placid, but it has an alarming message.
  5. Bird Island
    Not much happens in Bird Island, but the center’s cycles of regeneration and care leave their mark, invigorating both the characters and us.
  6. Secret Society of Second Born Royals
    The most polished superpower on display in the defiantly unexciting Secret Society of Second-Born Royals is the ability to say its title without spitting.
  7. Kajillionaire
    Wrapping damage and poverty in bubbles and sunshine, Kajillionaire is about intimacy and neglect, brainwashing and independence.
  8. The Artist's Wife
    The best, perhaps the only reason to see The Artist’s Wife is Lena Olin, an actor incapable of giving a so-so performance.
  9. The Last Shift
    So far, so good, in the mismatched maybe-eventual-buddy-comedy department. But the movie, written and directed by Andrew Cohn, wants a deeper dimension, and in pursuing that, goes wrong.
  10. Ottolenghi and the Cakes of Versailles
    Ultimately the results are eye-popping, sometimes almost confoundingly so.
  11. Misbehaviour
    Like most commercial movies about feminist history, though, it also has a toothless vision of protest and empowerment that’s doomed to fail its subject because its makers don’t (can’t) risk making the audience uncomfortable.
  12. The Trial of the Chicago 7
    I don’t think, on balance, that this is a very good movie. It’s talky and clumsy, alternating between self-importance and clowning. But it’s also not a movie that can be easily shaken off. Partly this is an accident of timing.
  13. Kiss the Ground
    The film makes a case for the healing power of soil, arguing that its capacity to sequester carbon could be the key to reversing the effects of climate change.
  14. Oliver Sacks: His Own Life
    While the movie steers around the details of how post-fame Sacks became something of a brand, it beautifully presents a portrait of his compassion and bravery.
  15. Stuntwomen: The Untold Hollywood Story
    While the documentary successfully champions stunt women’s dignity in the workplace, it lacks finesse — failing to showcase their talents in a way that would be exciting for an audience outside the industry.
  16. Rifkin's Festival
    It’s a relief to report that Rifkin’s Festival is, to the ravenous captive, like finding an unexpected stash of dessert: not substantial and not nutritious, but sweet enough to remind you in passing of the good times you once had, despite all that’s happened in the interim.
  17. Enola Holmes
    The film is successful in balancing these broad themes with our heroine’s adventures, and that is due in large part to the work of Brown, whose energetic performance breathes new life into the Holmes creative world.
  18. I've Got Issues
    The movie observes collective pain with endearing absurdity.
  19. A Chef's Voyage
    Mostly the movie is a drizzle of platitudes.
  20. God of the Piano
    Rarely does a debut feature showcase a talent so fully formed. This is a remarkably potent film.
  21. Residue
    Gerima’s challenging, engrossing filmmaking style is measured, simultaneously realistic and impressionistic. What’s out of the frame is often as important, if not more important, than what’s in the frame.
  22. The Nest
    If Durkin’s writing doesn’t always match his formal flair, The Nest has a bracing economy, cramming a lot into tight quarters.
  23. Alone
    This minimalist survival thriller unfolds with such elegant simplicity and single-minded momentum that its irritations are easily excused.
  24. Blackbird
    The characters are so flimsy, and so wearyingly familiar . . . that Michell is incapable of giving their conflicts life.
  25. The Way I See It
    The movie is impeccably crafted and consistently engaging.
  26. H is for Happiness
    Its meticulous visuals do frequently tip into preciousness, yet this cuteness is offset by the movie’s refreshingly direct take on depression and despair. This unusual children’s film may be fussy, but to its credit, it is not frivolous.
  27. The Devil All the Time
    Every faded dress looks attentively fitted, each ramshackle house artfully weathered. If the performances are considerably less persuasive it’s partly because Campos shows no interest in the inner lives of his characters. And while Pattinson’s and Keough’s roles are risible, the actors at least show signs of (comic) life.
  28. Antebellum
    Written and directed by Gerard Bush and Christopher Renz, and propelled by the charisma of Janelle Monáe, it lines up moments of possible insight and impact and messes up just about all of them.
  29. The Secrets We Keep
    An exploitation film that proceeds as if it were a solemn memorial, The Secrets We Keep doesn’t do right by the Holocaust history it invokes — or much else.
  30. Red, White & Wasted
    Distracted by Confederate flags and twerking women, the directors, Andrei Bowden Schwartz and Sam Jones, make only a halfhearted attempt to illuminate a disappearing subculture.
Page:

Top Trailers

See all »
See all trailers »