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. Ray & Liz
    Performed with absolute commitment by its cast (Justin Salinger and Ella Smith play the younger versions of the title characters), Ray & Liz is a quietly harrowing movie. Billingham risks tedium, though, in withholding anything like an inner life for any of its characters until the movie’s very end.
  2. Cold Blood
    If Petitjean’s dialogue is problematic, its delivery is no less so: at times, the discord between a character’s words and lip movements suggests that some line readings had to be dubbed.
  3. Phil
    The only thing grimmer than the material in Phil is its execution.
  4. Midsommar
    Despite all the time he lavishes on Dani and Christian’s relationship, which is drawn along stereotypical gendered lines (consuming female need that becomes devouring), the couple remains instructively uninteresting. That’s the case despite Pugh.
  5. Ophelia
    It’s an interesting exercise and, for the most part, a passably diverting one.
  6. Spider-Man: Far from Home
    The high-school comedy bits of “Far From Home,” while not especially original, have a sweet, affable charm.
  7. Mine 9
    The goings-on are grim, grueling and, eventually, grisly. Mensore shoots them with a sharp eye for maintaining coherent spatial relations, which enhances the suspense. It’s a sometimes bracing simulation.
  8. Killers Anonymous
    While you might leave with several unanswered questions, the most concerning one is how this fiasco was ever financed in the first place.
  9. Euphoria
    Notwithstanding a lively turn from Charles Dance as a chatty brain-tumor sufferer and a perfect Charlotte Rampling as a tranquil guide to oblivion, Euphoria gives up the ghost well before either of its unhappy heroines.
  10. Three Peaks
    Three Peaks has a placid surface, but Zabeil uses abstraction — with edits that elide information or play tricks with spatial perception — to deepen a trite scenario.
  11. The Plagiarists
    The Plagiarists does skewer its characters, but where it goes from there is more genuinely bleak than what mere finger-pointing can achieve.
  12. The Other Story
    The surfeit of subplots muddles the message.
  13. Maiden
    A sleek, exhilarating documentary.
  14. Yesterday
    Yesterday is more of a novelty earworm than a classic. It’s appealing and accessible in a way that the Beatles never really were. If it took itself — and them — a bit more seriously, it would be a lot more fun. But it wasn’t made to last.
  15. The Chambermaid
    The film’s style is austere — there are few camera movements and no musical score — but its visual wit and emotional sensitivity lift it above the minimalist miserablism that drags down so many well-meaning films about modern workers. After you’ve seen it, the world looks different.
  16. Annabelle Comes Home
    Burdened neither by fresh ideas nor common sense, Gary Dauberman’s lethargic screenplay (he also directed, an inauspicious debut) takes so long to get moving that Annabelle herself should demand a do-over.
  17. Anna
    Anna isn’t as stylish or gripping as “Nikita,” but it does have its own demented charm, particularly in how it toys with structure, nesting competing narrative timelines within each other.
  18. Endzeit - Ever After
    Once Vivi and Eva are forced off the train and start wandering the countryside, the forest seems to fold its arms around them, and Endzeit modestly deepens into beguiling mystery.
  19. Starfish
    If White’s wild formal experimentation and narrative cul-de-sacs result in a strange identity crisis for the film — a sense that he wasn’t entirely sure which movie he wanted to make — Gardner’s stellar work unifies it.
  20. Toy Story 4
    In other words, the movie is exactly what you expect — not more, not less — from an estimably well-oiled machine like Pixar.
  21. Child's Play
    In trying to build a smarter Chucky, the filmmakers have assembled something unfathomably dumb.
  22. The Extraordinary Journey of the Fakir
    Despite the film’s syrupy sweetness, it takes some risks ... and its relentless earnestness is tough to resist, even as the film sugarcoats intimations of real danger.
  23. Burn Your Maps
    For all of the film’s attention to the contradictory emotional aftermath of loss, its Mongolian escape valve feels strangely obligatory — not a reason to get away from mourning, but a gimmick around which a film about bereavement was built.
  24. Wild Rose
    First and foremost, the movie, written by Nicole Taylor and directed by Tom Harper, is a superb showcase for Jessie Buckley. Doing her own singing, Buckley is a rich, startling vocalist who if anything seems to under-excite the crowds she performs for.
  25. Billboard
    The details of the story, as they unfold, do not correspond with any dimension of reality. Character development is nonexistent. The sluggish rhythms, the awkward cuts, the unlovely cinematography cohere into what seems like the enactment of a pointless dream.
  26. The Command
    The fine cast keeps us engaged, even if the film sometimes loses the narrative thread.
  27. The Quiet One
    Wyman narrates throughout, and his innate common sense can be persuasive.
  28. Toni Morrison: The Pieces I Am
    It’s less a biography than an extended essay, which is entirely a good thing. If you want a thorough documentation of everything Morrison has done and everyone she knows, there’s always Wikipedia. But if you’d prefer an argument for her importance and a sense of her presence, then you won’t be disappointed.
  29. The Edge of Democracy
    Though she is a scrupulous and dogged digger-up of hidden facts and a thoughtful interpreter of public events, Costa hasn’t produced a work of objective journalism or detached historical scholarship so much as a personal reckoning with her nation’s past and present.
  30. Back to the Fatherland
    The survivors offer several potent recollections. Yet most other scenes linger and provide few insights.
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