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. Once Upon a Time ... in Hollywood
    It’s a western, for Pete’s sake. Politics are wound into its DNA, and Tarantino knows the genome better than anyone else. Which is just to say that like other classics of the genre, “Once Upon a Time … in Hollywood” is not going anywhere. It will stand as a source of debate — and delight — for as long as we care about movies. And it wants us to care.
  2. Angels Are Made of Light
    The director finds beauty everywhere — in a cloud of dust, a traffic jam, the raucous din of children at play. And wherever such beauty exists, we imagine, hope can never be entirely absent.
  3. The Great Hack
    If the paranoia level could probably withstand a slight reduction, much of the movie feels utterly credible.
  4. Cassandro, the Exotico!
    This effervescent picture has an often infectious underground-movie aesthetic.
  5. TINY: The Life of Erin Blackwell
    The combination of “Streetwise” and “Tiny” belongs on a short list with “Boyhood,” the “Up” documentaries and “Hoop Dreams” as exemplars of time-capsule filmmaking.
  6. Luz
    Despite the strange, echoing beauty of its images ... "Luz" is, as a whole, visually numbing and mentally taxing.
  7. She's Just a Shadow
    I wouldn’t dare to predict who might cough up admission for this; but if watching prostitutes guzzle Twinkies and swallow handguns is your thing, then by all means come on down.
  8. I Do Not Care If We Go Down in History as Barbarians
    Until its devastating final scenes, the way “I Do Not Care” makes its points is discursive rather than dramatic.
  9. Bottom of the 9th
    The result is pleasing — a stadium snow cone, palatable despite being sweetened with corn syrup.
  10. A Faithful Man
    [A] low-key, engaging comedy.
  11. Rosie
    [A] moving drama ... With its quiet realism and almost unbearably intimate hand-held camera work ... "Rosie" holds our hands to a flame of desperation.
  12. Point Blank
    If anything, the film emanates a startling ineptitude, unable as it is to clear some basic standards of craftsmanship.
  13. David Crosby: Remember My Name
    Fans will enjoy the backstage access, the home movies, the snapshots and the reminiscences, but the movie keeps you at a distance, while implying that it may be just as well not to get too close.
  14. At War
    To this viewer, it is a spectacular whiff.
  15. Crawl
    A smoothly efficient popcorn picture...Though Scodelario is spunky and game in what must have been an extremely uncomfortable shoot, the script (by the brothers Michael and Shawn Rasmussen) is airless and repetitive.
  16. The Cat Rescuers
    While The Cat Rescuers movingly portrays the unique individuals committed to helping these cats, it doesn’t quite tackle the full complexity of this subject. Still, no animal lover should be surprised to find themselves holding back tears while watching this documentary.
  17. Marianne & Leonard: Words of Love
    While Broomfield’s films often take a sardonic, close-to-cynical tone, “Marianne & Leonard” is admiring, affectionate and a little awe-struck.
  18. The Sweet Requiem
    The plot intrigues are arguably appropriate to genre pictures, but “Requiem” manages to play out as an urgent but understated drama. The film puts its points across with a delicacy and sobriety rare in moviemaking.
  19. General Magic
    General Magic is engaging, but there’s a tougher, tighter film in here struggling to get out.
  20. American Heretics: The Politics of the Gospel
    American Heretics: The Politics of the Gospel doesn’t break ground cinematically, but it is eye-opening in other ways.
  21. Cities of Last Things
    As the full picture comes into focus, the narrative can tend toward the trite. The chief pleasure of the movie is the 35-millimeter cinematography of Jean Louis Vialard.
  22. Sword of Trust
    The humor has a persistent goofy streak, but what sticks to the ribs is the poignant stuff.
  23. Summer Night
    The film is transparently derivative, but it has enough visual panache and a feel for the rhythms of a laid-back summer evening that it’s tough to dislike.
  24. Firecrackers
    This is a movie that, like its characters, is more fluent in feelings than in words.
  25. Sea of Shadows
    The plot twists are so spot on that a screenwriter might have rejected them.
  26. Rojo
    Adopting a cool, oblique yet accessible approach that complements the washed-out, nicotine-stained palette, Naishtat builds a modular narrative that increasingly bristles.
  27. The Farewell
    Its affection for its characters feels protective; the film is reluctant to spill any secrets or cause any embarrassment. There is admirable kindness and impressive loyalty in this approach, but it also puts a bit of a damper on the party.
  28. The Lion King
    The songs don’t have the pop or the splendor. The terror and wonder of the intra-pride battles are muted. There is a lot of professionalism but not much heart. It may be that the realism of the animals makes it hard to connect with them as characters, undermining the inspired anthropomorphism that has been the most enduring source of Disney magic.
  29. Stuber
    It’s one of those dumb movies that are so gleeful about their own idiocy that taking it seriously may seem pointless, which is always a good reason to take a movie seriously.
  30. The Art of Self-Defense
    The one halfway-interesting part of this movie is Nivola’s performance, which operates at both a deeper register of seriousness and a higher pitch of comedy than anything else.
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