The New York Times' Scores

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:
20280 movie reviews
  1. The film may be maddening as a character study, and it could damage an ionizer with its air of self-importance, but its experiments in form and tone are highly original.
  2. Vita & Virginia takes a passionate, real-life affair between two enormously gifted writers and proceeds to throttle the life out of it.
  3. More than a few moments here are new, and real grabbers.
  4. Bell imbues Brittany with humanity and wit, but all too frequently she is working within the framework of a story that seems hellbent on robbing her character of joy.
  5. Some shows deserve reverential treatment. And the love letter is, to use a word so associated with this show it influences the way many say it, tradition.
  6. The documentary also reminds viewers of why Friedkin has earned this tribute. For all his career ups and downs, he has remained devoted to making genuinely challenging and exciting work, and has succeeded more often than not. The documentary serves as a strong incitement to dig into it.
  7. "The Fugitive,” to which “Angel” owes perhaps even its rooftop finale, is a template against which this movie inevitably falls short.
  8. Complex, stirring, timely and beautifully shaped.
  9. It’s Weaving who gives this blunt satire of class warfare a heart.
  10. Thematically underdeveloped yet pleasingly creepy, Tigers Are Not Afraid balances its mild terrors with appealing moments of childish creativity.
  11. Each comic set piece decomposes on the screen, lifeless and hopeless.
  12. It’s hard to care for characters when what they do and say rings so false. The result plays like the kind of sleazy exploitation movie that the first one so studiously avoided becoming.
  13. These songs have the power to move, inspire, make you dance. For the first time in my experience of Springsteen, they made me want to hide under my seat.
  14. Berman can’t quite juggle it all.
  15. The movie, like the elemental forces we continue to exacerbate, never explains itself. Surrender to it, though, and a narrative - of spectacle, conflict and retaliation - will eventually become clear.
  16. Socrates isn’t simply about being gay, or poor, or even devastatingly unloved: It’s about honoring a resilience that most of us will thankfully never have to summon.
  17. Somewhere deep inside Driven — Nick Hamm’s based-on-real-life crime caper — lies a fascinating movie.
  18. Cold Case Hammarskjold is finally poised unsatisfyingly between an explosive exposé and a self-conscious put-on. Even a full acceptance of its assertions doesn’t do much to illuminate Hammarskjold’s death.
  19. The animation is handsome, the graphic settings understated but intelligently detailed.
  20. The movie unfolds impressionistically. To call it a portrait of collective resilience is accurate, but that description shortchanges its richness on both human and historical scales.
  21. The measured ordinariness of its first section has been a sly setup for a poetic film that handles narrative as a kind of scarf dance.
  22. The film acquits itself honorably, even if its ultimate message is disquieting.
  23. Amusing and sleepy pretty much describe this movie.
  24. The kids’ ambling chatter, the dogs’ routine of rest and play, lull us into a contemplative state, which allows us to better appreciate the mystery of existence.
  25. Adam is a movie that tackles big ideas about queerness and comes out looking confused — making it an experience that frustrates even as it tries to endear.
  26. The hoops our heroes jump through become increasingly surreal and hilarious.
  27. Freeman, never the most animated of performers, gives his specific brand of passive British miserabilism free rein. But it’s Melissa Rauch, as Charlie’s safely dull, place-holder girlfriend, who steals the show.
  28. Soul-baring and furious, the documentary One Child Nation takes a powerful, unflinching look at China’s present through its past.
  29. Gottsagen is a disarming performer who creates a sweet and funny character.
  30. Like a child unwittingly navigating a jungle full of booby traps and deadly creatures, the film walks a treacherously fine line without ever seeming to break a sweat.

Top Trailers