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 Burnt Orange Heresy
    There’s some grim stuff here, but very little of Willeford’s mordant humor. A small and potent quantity of this quality is delivered by the larger-than-life rock star Mick Jagger in the role of Cassidy. Jagger shows a refreshing lack of conventional vanity by allowing both Bang and Debicki to tower over him.
    • 71 Metascore
    • 80 Critic Score
    The Booksellers
    Charming.
  3. Bacurau
    In this sensational genre whatsit, a town finds itself fighting for its very existence. (Good thing Sônia Braga lives there.)
  4. Onward
    The film is a brightly rendered, sentimental ode to adolescence that hits all the right emotional buttons, even as it risks being forgotten itself.
  5. The Banker
    For a film about the struggles of a black man in America, The Banker spends an awful lot of time on a false white front.
  6. Sorry We Missed You
    There’s no way for Loach to have gone smaller. When the movie’s over, you have, indeed, witnessed a tragedy, just not the usual kind. Nobody dies. No one goes to prison (there is one police-station visit unlike any I’ve seen). But life: that’s the tragedy, what it takes to get by, what it takes be just a little bit happy — for one lousy meal.
  7. The Way Back
    The movie withholds a crucial bit of back story in early scenes only to drop it like an anvil later on. Since the revelation is known to the characters the whole time, the decision to deploy it as a surprise is cheap and shameless — a blatant foul in a movie otherwise filled with smoothly executed plays.
  8. First Cow
    First Cow is fundamentally a western: It takes up questions of civilization, solidarity and barbarism on the American frontier. And like many great westerns it critiques some of the genre’s foundational myths with bracing, beautiful rigor, including the myth of heroic individualism.
    • 61 Metascore
    • 60 Critic Score
    All the Bright Places
    Theodore’s story line is not always handled with the depth it should receive. It’s an unfortunate flaw in a film that impressively balances moments of joy with equally resonating despair.
  10. Wendy
    Wendy has her moments, certainly, but she remains frustratingly undeveloped and uninvolving, despite the clamor and the score’s triumphalism.
  11. Burden
    Though the themes of Burden feel uncomfortably current, their execution is leaden and dismayingly artless.
  12. Saint Frances
    With a warm heart and a nonjudgmental mind, Saint Frances weaves abortion, same-sex parenting and postpartum depression into a narrative bursting with positivity and acceptance.
  13. Greed
    Coogan brings his usual comic reliability to his characterization, as does Isla Fisher as the rich man’s predictably estranged wife, and they wring laughs from the material.
  14. Blood on Her Name
    Oppressively dark and unrelentingly intense, Blood on Her Name packs down-and-dirty performances, and a few surprises, into a tight 85 minutes.
  15. Guns Akimbo
    A satire of overamped gamer culture that is itself too overamped to be much fun, Guns Akimbo takes a while before it stops showing off its virtuosity — shots that turn cartwheels, frantic cutting, an onslaught of graphics — and finds a groove.
  16. Straight Up
    You never quite buy Todd and Rory as flesh-and-blood people who could have conversations that don’t sound rehearsed.
  17. The Jesus Rolls
    The movie doesn’t always work, but it’s never boring.
  18. The Invisible Man
    Moss’s full-bore performance — anchored by her extraordinarily supple face — gives the movie its emotional stakes.
  19. The Whistlers
    It is Porumboiu’s most elaborate feature and in some ways his least ambitious. Like a meringue or like a whistle, its substance is mostly air.
  20. Disappearance at Clifton Hill
    For patient or forgiving fans of idiosyncratic thrillers, “Disappearance” may deliver satisfactory spills and chills.
  21. My Hero Academia: Heroes Rising
    This is canny, passionate filmmaking, a reminder of the power of two-dimensional animation. First, it humanizes, then it astounds.
  22. Emma.
    Austen’s story and words, it turns out, prove unsurprisingly durable and impervious to decorative tweaking. And so, after a while, the Anderson-ish tics become less noticeable, and both the emotions and overall movie more persuasive.
  23. Young Ahmed
    Young Ahmed is suspenseful and economical, with a clear sense of what’s at stake, but something crucial — perhaps a deeper insight into the character or the contradictions that ensnare him — is missing.
  24. Vitalina Varela
    Vitalina Varela is socially conscious, but dreamlike, elegiac. And an inquiry, too, into the abilities and deficiencies of film as a medium to illuminate human consciousness and experience. It’s essential cinema.
  25. Viral: Antisemitism in Four Mutations
    The trouble with this skimmed approach is that by sidelining historical analysis, the film denies its audience the best defense against distortion, a rational necessity when interpreting a conversation that often seems to happen in code.
  26. Goldie
    Woods, remarkably comfortable in her first film role, gives Goldie a steel spine and a feisty resourcefulness, her moments of vulnerability rare, but essential.
  27. Cabaret Maxime
    Despite the classic David-versus-Goliath narrative, the story is never as mesmerizing as the grotesquely glam stage numbers and Imperioli’s illuminated face watching them, glowing with pride.
  28. Jinpa
    As amusing as these interludes are, they read as attempts to force an exaggerated sense of mystery into an ultimately simple and moralistic tale about the futility of vengeance.
  29. Balloon
    There is nothing objectionable about Michael Bully Herbig’s glossy political thriller, Balloon, but there’s nothing particularly exciting about it, either.
  30. Premature
    Every moment rings true, the vividly textured locations and knockabout relationships more visited than created.
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