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. Judy
    Mostly, Judy offers the familiar spectacle of one star playing another. Zellweger’s performance is credible, with agitated flutters and filigreed touches, though it leans hard on Judy’s tremulous fragility, as if she were a panicked hummingbird. The take is also cautious, too comfortable; it never makes you flinch or look away.
  2. The Laundromat
    Soderbergh and his top-notch cast (Sharon Stone shows up, as do Jeffrey Wright and Matthias Schoenaerts) keep things lively, playing out parables of betrayal and deception with pulpy, TV-movie flair.
  3. Between Two Ferns: The Movie
    Some promising ideas and characters are introduced, but the narrative is so superfluous, the connecting segments so fleeting, that little is fleshed out.
  4. Always in Season
    Olive weaves these stories together with fluidity and purpose, but the ideas of Always in Season sometimes crowd one another out.
  5. Downton Abbey
    From its spectacularly detailed aesthetic to the characters’ march down well-worn personality paths, Downton Abbey argues insistently for the status quo.
  6. Ad Astra
    Ad Astra is unambiguously a film of its moment, one about a man’s struggle for personal meaning and a place in the world in a time of fallen fathers.
  7. Britt-Marie Was Here
    Britt-Marie Was Here is a relatively unchallenging yet ultimately pleasant watch.
  8. Zeroville
    A raft of marquee names — including Seth Rogen, James Franco and Will Ferrell — can’t save Zeroville, a maddeningly surreal head trip through Hollywood history and movie-fan insanity.
  9. Diego Maradona
    It is exhausting and exhilarating, cheap looking and slick, a documentary for Maradona fans but also for many others besides.
  10. Villains
    Despite some committed performances, particularly from a refreshingly natural Maika Monroe, Villains is a hackneyed farce rich in gimmicks and poor in substance.
  11. Corporate Animals
    If what you’re looking for are vulgar cartoons based on facile social stereotypes being awful to each other, Corporate Animals will fill the bill.
  12. Where's My Roy Cohn?
    Where’s My Roy Cohn?” is most interesting for the questions it doesn’t explicitly ask. Those have to do with not with Cohn’s blatant amorality, but with the moral compromises of the elite who tolerated his company and found uses for his talents.
  13. Loro
    In some ways Berlusconi, a media mogul and cruise-ship crooner in earlier phases of his career, a creature of appetite and excess, is Sorrentino’s ideal subject. But the overlap in their sensibilities turns Loro into a blurry, distracted, sentimental portrait.
  14. Rambo: Last Blood
    While the killings (replete with beheadings, dismemberments and more) are zestfully depicted — the director Adrian Grunberg has a way with pace and bloody impact to be sure — the picture overall is rote, mechanical.
  15. Tall Girl
    A big problem is that the students are all affluent and status-obsessed, but the film has no temperament for self-examination: Instead of a John Hughes-style satire of class and social divides — not that acute here, to begin with — we get an uncritical depiction of homogeneous entitlement.
  16. Midnight Traveler
    What largely distinguishes Midnight Traveler is its anxious intimacy, a sense of uneasy closeness that pulls you into a family circle that at times gets very small, creating a sense of appropriate claustrophobia.
  17. América
    This is an exemplary, moving, show-don’t-tell record of family tenacity.
  18. Redistribution
    If evacuating cinema means engaging with the medium’s properties in only the silliest ways — mismatching subtitles with images and voices with speakers — Price certainly does that.
  19. Freaks
    Appealing, partly because it’s so unembarrassed by its genre's done-to-death social-injustice themes, this undercooked blend of science fiction and family drama virtually dares you to turn up your nose.
  20. Moonlight Sonata: Deafness in Three Movements
    The film’s deaf subjects feel creatively and philosophically shortchanged.
  21. Cracked Up
    Hammond, who describes his face as so bland that it becomes a canvas for so many others, emerges as a riveting, eccentric character: Fragile, lyrical and haunted, like a doomed figure out of Tennessee Williams.
  22. American Dreamer
    Not even a month after the John Travolta travesty “The Fanatic” seemed to have secured the title of Worst Film of 2019, up comes this movie to overtake it. By several lengths.
  23. Ms. Purple
    Ms. Purple is a moody, downbeat drama soaked in color and saturated with sadness.
  24. Another Day of Life
    It uses animation to depict a conflict in fresh dimensions.
  25. Depraved
    Making the most of his limited budget, not unusual for the prolific Fessenden, he has produced possibly his most coherent and visually polished work to date. The makeup effects and lead performances are excellent, and Fessenden’s signature cheek (two strip-club employees are called Stormy and Melania) never tips into silliness.
  26. The Sound of Silence
    The Sound of Silence wants to be heard, but, in the end, doesn’t have much to say.
  27. Monos
    It’s frustrating to see such a sophisticated cinematic apparatus used in the service of such muddled half-ideas.
  28. Raise Hell: The Life & Times of Molly Ivins
    While cuddling up to the adored one is a familiar biographical tactic, some critical distance might have made for a deeper, stronger movie.
  29. Chained for Life
    Schimberg’s film is odd, darkly funny and — when it means to be — a little frightening.
  30. The Goldfinch
    It looks and sounds like a movie without quite being one. It’s more like a Pinterest page or a piece of fan art, the record of an enthusiasm that is, to the outside observer, indistinguishable from confusion.
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