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. Miss Americana
    Wilson has captured Swift at a convincing turning point, ready, perhaps, to say a lot more.
  2. Gretel & Hansel
    Essentially the story of a young woman coming into her power, Gretel & Hansel is quietly sinister, yet too underdeveloped to truly scare. Together, Jeremy Reed’s production design and Galo Olivares’s photography weave a chilly spell that’s regrettably undermined by the opacity of the storytelling.
    • 41 Metascore
    • 40 Critic Score
    Created Equal: Clarence Thomas in His Own Words
    If “Created Equal” is trying to promote the conservative cause, it does so gently, and blandly.
  4. Incitement
    Potently, Incitement depicts Amir as just one member of a self-reinforcing fringe.
  5. The Rhythm Section
    The talented Morano, whose work on the TV series “The Handmaid’s Tale” shows a knack for shuddery grim realism, sometimes seems to want to subvert the espionage-action genre by bludgeoning the pleasure out of it.
  6. The Assistant
    Unfolding over one acutely distressing workday, The Assistant is less a #MeToo story than a painstaking examination of the way individual slights can coalesce into a suffocating miasma of harassment.
  7. José
    The film delicately depicts the hardship of being gay in a Catholic culture and the pressure for machismo in a crime-ridden country.
  8. The Traitor
    Bellocchio’s approach to the story is at once coolly objective — the movie is part biopic, part courtroom procedural — and almost feverishly intense. He has a historian’s analytical detachment, a novelist’s compassion for his characters and a citizen’s outrage at the cruelty and corruption that have festered in his country for so long.
  9. Beanpole
    This is only the second feature from the sensationally talented Russian director Kantemir Balagov (who was born in 1991), and it’s a gut punch. It’s also a brilliantly told, deeply moving story about love — in all its manifestations, perversity and obstinacy.
  10. Panga
    Tiwari is better at probing the emotions under the drama than building a nail-biting, rah-rah finish, though she tries.
  11. I Wish I Knew
    In effect, with I Wish I Knew, Jia is building not just a portrait of a city, but of a fragmented people — one story and memory at a time. He is finding meaning in collective remembrance and revealing a world, to borrow a phrase from Walter Benjamin, “under the gaze of the melancholy man.”
  12. John Henry
    This first feature from Will Forbes is a big slice of ham.
  13. The Turning
    It’s the movie’s open-endedness and literary vestiges that sit uneasily with its repetitive goosings, which manifest in exceedingly familiar ways.
  14. Quezon's Game
    Unfortunately, in Matthew Rosen’s fictionalized take, Quezon’s Game, this story of intrigue turns stiff and sentimental.
  15. Zombi Child
    The movie’s inconclusiveness is the source of its appeal; Zombi Child is fueled by insinuation and fascination.
  16. The Last Full Measure
    The movie is written and directed, with undeniable sincerity, by Todd Robinson. While its story mechanics are creaky, the valor of Pitsenbarger is evoked cogently, in well-executed battle sequences
  17. Color Out of Space
    Using shape-shifting as a messy metaphor for sickness and childhood trauma, Stanley and Cage leap so far over the psychological top that they never come back to earth. By the end, my own eyeballs hadn’t changed color, but they must have looked like pinwheels.
  18. The Gentlemen
    The point is cleverness and looking cool, though, mostly the movie is about Ritchie’s own conspicuous pleasure directing famous actors having a lark, trading insults, making mischief. There’s not much else, which depending on your mood and the laxity of your ethical qualms, might be enough.
    • 34 Metascore
    • 30 Critic Score
    A Fall from Grace
    Ultimately, nothing is much of a surprise in a story that fails to untether itself from Perry’s longest lasting trope: the sad black woman.
  20. Weathering with You
    The pace is sometimes so rapid that you scarcely have time to look, much less admire the translucent sheen of a plastic garbage bag or the meticulous lettering on a beer can (“Since 1978”). That’s to Shinkai’s purpose. As streets, homes, rooms and faces hurtle by, a textured world emerges detail by detail, one that looks like life yet is also expressionistic.
  21. Citizen K
    Although the film has long, engaging stretches, there is something slightly unsatisfying about the whole.
  22. VHYes
    Even when the ghost of a point materializes — that recording ephemera can be a self-soothing behavior — VHYes is too unsophisticated to develop it.
  23. Intrigo: Death of an Author
    The movie’s structural dynamics make it play like a cross between “Nocturnal Animals” and “Sleuth.” But the stagings are stilted; the relations between the conflicted characters never catch fire.
  24. Troop Zero
    What Troop Zero lacks in complexity, it makes up for in heart.
  25. Dolittle
    The charm of this fantasy has always been dubious and will presumably fade as the natural world continues to disappear and more and more species become extinct.
  26. Bad Boys for Life
    Lawrence’s riffs almost always land. They especially need to in the final quarter, when the movie sets the bar high for this year’s Dopiest Movie Plot Twist competition.
  27. System K
    Barret makes the viewer understand, implicitly at least, the desperation of these creators, even as views of their work, and the simmering electronic Afro-funk of the soundtrack, make a case for the indomitability of their creative impulse.
  28. The Woman Who Loves Giraffes
    Blessed with a trove of 16-millimeter film footage captured during this yearlong adventure, the director, Alison Reid, uses it as the foundation for a far-ranging story of scientific discovery, sexual discrimination and environmental alarm.
  29. Like a Boss
    Actors make lousy choices all the time and if Like a Boss makes money no one will care that it’s formulaic, unfunny, choppy, insults women and seems to be missing much of its middle.
  30. The Sonata
    Bedazzled or otherwise, clichés are still clichés, and this debut feature from Andrew Desmond is strewn with them.
Page:

Top Trailers

See all »
See all trailers »