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
  1. The Call of the Wild
    This “Call of the Wild,” however defanged and updated, doesn’t lack for exciting canine brawls or tense rescues from frozen waters. It also doesn’t lack for an almost soothing corniness.
  2. Ride Your Wave
    The director, Masaaki Yuasa, is adept at stories and visuals where water is a major character.
  3. Once Were Brothers: Robbie Robertson and The Band
    You can’t beat the access or the clips, although the absence of Hudson (whom Roher apparently filmed) from the present-day interviews is peculiar. His voice might have provided a valuable counterpoint to Robertson’s recollections.
  4. The State Against Mandela and the Others
    Mandela did not die before effecting a huge change in his still-traumatized country. This movie sheds a valuable light on his struggle.
  5. Corpus Christi
    The idea that a charlatan might offer more solace than a real priest is a trite concept, but it’s one that Corpus Christi portrays with conviction. The movie rests on the shoulders of Bielenia — or rather, in his eyes, which photograph as a chilling gray.
  6. Blumhouse's Fantasy Island
    This is all interesting from a pro-am cinema semiotics perspective, but none of it is in the least bit scary. This, really, is what happens when you take all the wrong lessons out of film school.
  7. Downhill
    There are some jokey parts, some weepy bits, a sexy moment and a few fine displays of anger from Louis-Dreyfus, but they’re all just thrown together like salted nuts and cheap candies in a snack mix.
  8. The Photograph
    The sparks fly fast and persuasively — Rae and Stanfield make sense right away — and you’re soon cozying up with the couple while they share stories and increasingly heated looks in a dimly lit restaurant. The writer-director Stella Meghie understands that you want to see these two beautiful people get together, and she smoothly delivers on your own romantic (and romance genre) longings.
  9. The Last Thing He Wanted
    The big problem with the movie isn’t the muddle, but the strain.
  10. Buffaloed
    Simultaneously rowdy and slick, Buffaloed is exuberantly paced and entirely dependent on Deutch’s moxie and pell-mell performance.
  11. Ordinary Love
    It almost works, but as persuasive as the performers can be, Tom and Joan seem less real the more time you spend with them.
  12. Come As You Are
    It softens the cruder edges of the original, but the candor with which Erik Linthorst’s script regards the characters’ sexual desires — coupled with the winning performances of the actors — leavens any sentimentalism.
  13. VFW
    Essentially a geezers-fight-back siege movie (Tom Williamson plays the sole young veteran), VFW is riotously scuzzy and warmly partial to its rusty heroes.
  14. You Go to My Head
    Until its surprisingly effective ending, You Go To My Head keeps its drama under the skin. Like an animal in captivity, Bafort, who is also a model, slinks and lounges with long-limbed grace; but it’s Cvetkovic who holds the movie steady, giving Jake a secretive, worn gentleness that’s tinged with tragedy.
  15. Olympic Dreams
    Compared to the drama of the competition, the story and its characters always feel slight, an excuse to hang out among Olympians rather than a movie that builds upon (or for that matter critiques) its surroundings.
  16. The Times of Bill Cunningham
    This talking-head footage is a promising start that ultimately leads to a less than illuminating documentary.
  17. A Shaun the Sheep Movie: Farmageddon
    “Farmageddon” features plenty of inspired, boomeranging slapstick, executed with clockwork precision. It’s a very funny movie — and an endlessly, refreshingly cheerful one, which is just as rare.
  18. Sonic the Hedgehog
    Other than product placement, the movie’s primary goal seems to be delivering 1990s nostalgia.
  19. I Was at Home, But
    In I Was at Home, but…, the German director Angela Schanelec seems to have taken her ideas and stashed them deep in a private vault. Every so often, though, she cracks open this movie — with a line, an image, a snatch of a song — offering you fugitive glimpses of an intensely personal world.
  20. Untouchable
    A respectable and all-too-real introduction to a chilling chapter of a Hollywood horror story.
  21. To All the Boys: P.S. I Still Love You
    To the director Michael Fimognari’s credit, "P.S. I Still Love You” doesn’t condescend to Lara Jean’s dilemma even as her choices deserve popcorn pelted at the screen. Yet, he’s content with a product that seems beamed in from a staticky old channel.
  22. The Cordillera of Dreams
    The Cordillera of Dreams is a beautiful film about nightmares that have yet to end.
  23. Cane River
    The movie itself, which was lost until a few years ago, is relaxed, reflective and sweet, a romance shadowed by the complexities of history, race and politics that manages to be both modest and ambitious.
  24. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    Like other big-studio exercises in pseudo-subversion (very much including “Deadpool”), Birds of Prey is happy to play at provocation with swear words and violence while carefully declining to provoke anything like a thought.
  25. Waiting for Anya
    Waiting for Anya is not so sentimental that it imagines every character can escape death. But it has little use for complexity.
  26. Come to Daddy
    Absurd yet bold, lurid yet a tiny bit touching, Come to Daddy drags poor Norval from hopefulness to horror to a wickedly literal form of closure. More than a few audience members might even be happy to accompany him.
  27. And Then We Danced
    The cast perform with conviction, and the whole movie is attractively, solidly put together. But its dramatic components, fraught as they are, are tepidly delivered.
  28. Timmy Failure: Mistakes Were Made
    There isn’t enough in the way of good jokes or clever references to investigators of yore to make the film appealing, and the flatness of Timmy’s delivery, which is supposed to scan as deadpan, doesn’t contain enough nuances to make much of the humor land.
  29. The Lodge
    Despite its visual flair and unrelentingly taut atmosphere, The Lodge is more successful in sustaining unease — like the eerie, unexplained shots of a spooky dollhouse — than in building a convincing narrative
  30. Horse Girl
    Horse Girl delves into a troubled mind only to get lost among its oddities, forgetting the sensitivity that drew it there in the first place.
Page:

Top Trailers

See all »
See all trailers »