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. Seberg
    A flawed and fascinating film about fame and martyrdom.
  2. Richard Jewell
    The shadows are what linger from this flawed, fascinating movie.
  3. A Hidden Life
    Franz Jägerstätter’s defiance of evil is moving and inspiring, and I wish I understood it better.
  4. Chinese Portrait
    Its primary interest lies in the tension between candid moments and shots that appear artfully composed.
    • 83 Metascore
    • 80 Critic Score
    Cunningham
    What the film doesn’t give is an accurate sense of Cunningham time. In a Cunningham dance, the mind can wander, experience different rates of change, be baffled, engrossed, astonished, bored. The price of Kovgan’s efficiency is impatience, always cutting away and moving on.
  6. Bombshell
    Part of what works in the movie is that it does a good job of presenting the ordinary assaults that women, even those with great privilege, can endure simply to get through a day, including dehumanizing “compliments.”
  7. The Disappearance of My Mother
    At the very least, it’s impossible to watch The Disappearance of My Mother without a measure of ambivalence. Gratitude for the chance to make Barzini’s acquaintance, and for Barrese’s sensitivity in making the introduction, is accompanied by ethical queasiness.
  8. Portrait of a Lady on Fire
    This is less a chronicle of forbidden desire than an examination of how desire works. Like a lost work of 18th-century literature, it is at once ardent and rigorous, passionate and philosophical.
  9. Temblores
    Bustamante renders the film’s distinct milieus with extraordinary texture. The sanitized and soulless spaces of Pablo and his family form an evocative contrast with the lively, bustling bars and streets frequented by Francisco. But this emphasis on sensory detail comes at the cost of the big picture.
  10. My Friend the Polish Girl
    Shot mostly in black and white and with an improvisational feel, My Friend the Polish Girl is cool and clever, feigning social realism with winking calculation.
  11. Les Misérables
    Ly shows command of staging and shooting throughout, simulating documentary form while maintaining a tight grip on narrative coherence.
  12. White Snake
    The forbidden romance has its will-they-or-won’t-they thrills, but this first feature by the directors Amp Wong and Ji Zhao, becomes a basket of tangled snakes when Blanca faces far too many obstacles.
  13. Melody Makers
    [A] hardly epochal but largely pleasant documentary.
  14. Feast of the Epiphany
    It is easier to like Feast of the Epiphany as an idea for an uncompromising film than it is to reconcile its pretensions.
  15. After Parkland
    After Parkland is not easy to watch, and certain choices (of images, of music) could be construed as calculated. But the movie succeeds where it counts: showing the reverberations of violence long after most cameras left.
  16. Cavale
    As a trio, Viance, Zaghouani and Pellizari are bright and full of energy, and Gourmel allows their scenes together to play with improvisational looseness. Their vivacity lends purpose to the entire film.
  17. A German Youth
    The pace is too rapid for any nonexpert to absorb or glean the significance of all the details, which Périot generally leaves unexplained. But this documentary is fitfully thought-provoking, and particularly good at illustrating political fault lines of the time.
  18. Ximei
    This isn’t a groundbreaking documentary, but it does pay its subjects the ultimate courtesy, treating them as officials have not: as fully rounded human beings.
  19. The Body Remembers When the World Broke Open
    Filmed almost entirely in real time, and using a series of long, intimate takes, “The Body Remembers” is about privilege and its lack, motherhood and its absence, race and its legacy.
  20. Knives and Skin
    It is manifestly unfair to compare the work of a near-universally admired auteur to an odd, ambitious independent film, but Knives and Skin owes so much to David Lynch, particularly “Twin Peaks,” that it feels wrong to pretend it exists in a vacuum.
  21. The Wolf Hour
    The result is a sometimes punishingly theatrical experiment that teeters on the verge of surreality, transfixing us with the promise of something terrible lurking just beyond those ratty curtains.
  22. A Million Little Pieces
    Another ruin-and-rehab tale, one that initially tantalizes then flatly disappoints.
  23. When Lambs Become Lions
    It’s a striking, human portrait of men in trouble, looking for escape and possibly redemption.
  24. Daniel Isn't Real
    What starts as a mediocre psychological thriller finishes as a surprisingly toothsome and creative horror film, complete with creature features and journeys into the abyss.
  25. Little Joe
    Little Joe manages to exert a peculiar pull in spite of being constructed with material you’ve likely seen elsewhere.
  26. In Fabric
    The film spaces out several nasty and effective frights. And as its narrative seems to deliberately devolve into a dissociative dream, even the funny material hits with a choke in the throat.
  27. The Aeronauts
    Gorgeous and goofy, fanciful and unrepentantly old-fashioned, this Victorian adventure (it’s set in 1862) delights much more when its head is in the clouds than when its feet are on the ground.
  28. The Cat Returns (2002)
    As it is, it’s the best non-Miyazaki, non-Takahata Ghibli feature. A girl prevents a cat from getting crushed by a truck and gains favor with a nocturnal kingdom of hipster felines, in a story with echoes of Alice in Wonderland and the novels of Haruki Murakami.
  29. Knives Out
    Johnson’s own sleight of hand is estimable, even if his effort to add politics into the crowded mix rings hollow. The machine is what matters here, and he has clearly had such a good time engineering it that it’s hard not to feel bad when you don’t laugh along with him.
  30. 63 Up
    There’s great pleasure in revisiting this series, seeing who turned out just fine and sometimes better than you might have expected or hoped.
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