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. This Changes Everything
    Once it finally begins to focus on the mission, however, This Changes Everything not only becomes engrossing but reveals itself as a crucial cri de coeur.
  2. Vision Portraits
    Despite its focus on as fluid and mysterious a subject as art, Vision Portraits addresses blindness in concrete, comprehensible terms.
  3. After the Wedding
    What should be a volcano of betrayal and acrimony never fully erupts; even Moore’s brief meltdown feels staged, and Isabel is so irritatingly tranquil that Williams has no room to breathe in the role.
  4. Love, Antosha
    This affectionate, heartbreaking documentary about his life, directed by Garret Price, presents Yelchin as a soldier of cinema, and a lot more.
  5. The Art of Racing in the Rain
    Enzo is a bad dog, and his antics play worse for the film’s lack of discipline.
  6. Light of My Life
    It’s not original, but it is enlivened by some artful touches and two excellent performances.
  7. This Is Not Berlin
    This Is Not Berlin so wants to evoke a time and a place that the backdrop engulfs the characters like a supernova.
  8. Brian Banks
    Brian Banks isn’t a great movie, but it is a worthwhile one. And if it’s indicative of a new direction for its director, you won’t hear any complaints from me.
  9. Scary Stories to Tell in the Dark
    Whether it’s the scene-setting blast of Donovan (“Zodiac”), the low-height Steadicam work (“The Shining”), the red-suffused hallways (David Lynch) or “Night of the Living Dead” playing at a drive-in, the movie takes from the best.
  10. The Kitchen
    An offense against feminism, narrative logic and Fleetwood Mac, The Kitchen is a terrible, witless mess.
  11. Fast & Furious Presents: Hobbs & Shaw
    The whole thing just makes me miss how horny and violent movies used to be. Here, all the violence is sex. Only, it’s not. It’s just winking.
  12. La Flor
    La Flor is perhaps more fun to think about than to sit through, though there are some exquisitely beautiful sequences.
  13. The Son
    Schindel is more interested in suspense gamesmanship for its own sake, and all other provocations fade from the canvas.
  14. Tel Aviv on Fire
    The story risks being overwhelmed along with its protagonist — pulled apart by too many competing arcs that collide in ways that aren’t always graceful. But on the other hand, too neat a movie might risk inauthenticity.
  15. The Nightingale
    This is a difficult movie because the questions it raises are not easy. There are sentimental and reassuring movies about vengeance, and comforting stories about the resistance to historical oppression. This isn’t one of those. You might say it’s too angry. Or too honest.
  16. Them That Follow
    We learn so little about these characters or the forces that shaped them that we’re never drawn into their drearily blinkered world.
  17. A Score to Settle
    Not even John Newman’s distressingly awful dialogue can slow Cage’s roll to a histrionic finish.
  18. Ladyworld
    Kramer choreographs action through striking tableaus that follow the group’s shifting dynamics; the score, built from percussion and a chorus of girlish hoots, builds the tension.
  19. Luce
    To say that it unfolds like a play is both accurate and undersells how gorgeously it has been rendered for the screen.
  20. Piranhas
    In its reliance on a conventional narrative through-line, it’s more reminiscent of “The Public Enemy” than “Goodfellas” in spite of its stylings of contemporary cinematic realism.
  21. The Operative
    The Operative, directed by Yuval Adler, doesn’t offer much distinctive, but it does deliver a few suspenseful sequences, some interesting nuts-and-bolts details of espionage work and a good lead performance en route to an unsatisfying ending.
  22. Jay Myself
    It’s a fun journey.
  23. Boi
    The tantalizing clues, occasional laughs and lapses in reality are not enough to hold this film together.
  24. Honeyland
    The opening minutes of Honeyland are as astonishing — as sublime and strange and full of human and natural beauty — as anything I’ve ever seen in a movie.
  25. The Mountain
    Like Alverson’s 2015 character study, “Entertainment,” The Mountain sets forth a profoundly anhedonic vision of America — and humanity — that’s simultaneously upsetting and mesmerizing.
  26. Mike Wallace Is Here
    There are times when you wish Belkin wouldn’t cut away so quickly and would allow answers to tough questions (or Wallace’s own words) to play in full.
  27. Skin
    A blistering story of rage and redemption that never fully illuminates the journey from one to the other.
  28. The Ground Beneath My Feet
    This is crafty, first-rank filmmaking.
  29. Jirga
    Despite the performance’s credibility, few things are more irritating, artistically and historically, than the stranger-in-a-strange-land interloper who hasn’t got a clue what he’s doing.
  30. For Sama
    The activists of this film, including al-Kateab herself, don’t speak in the language of philosophers or politicians. Their quotidian aspirations — to build a garden, to send their children safely to school — demonstrate the brutality of the government’s response, but they also invite viewers to picture themselves in the shoes of these modest political dissidents.
Page:

Top Trailers

See all »
See all trailers »