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. Murder Mystery
    Aniston and Sandler have a goofy, relaxed rapport that is often amusing despite the film’s best efforts to smother any sign of verve.
  2. Daughter of the Wolf
    With facile plotting — you could fashion a pretty deadly drinking game out of all the scenes in which someone gets knocked out, or is conveniently left for dead — and humdrum action, the lack of depth or dimension becomes fatal.
  3. Blue Note Records: Beyond the Notes
    This tidy, thoughtful film gets at jazz’s joy and pain.
  4. In the Aisles
    Imagine a Kaurismaki with less humor and a slower pace, and you’ll have a sense of how singular yet insubstantial In the Aisles ultimately appears.
  5. Hampstead
    Overall, the lively, unfussy Hampstead goes down easy.
  6. The Dead Don't Die
    This is an end-of-the-world party with an appealing guest list and inviting, eccentric décor.
  7. American Woman
    The performances are excellent, and Ingelsby’s dialogue largely rings true. But while the movie is indeed considered and conscientious, it’s also careful. It doesn’t risk going over any edges itself. And it shows more than a few instances of fussy and telegraphing Conspicuous Direction.
  8. Being Frank
    It’s a period movie with little style and a family flick wholly lacking in charm or warmth.
  9. Shaft
    You occasionally sense the presence of an interesting movie struggling to get out of this hyperactive action comedy — or even just a better Tim Story action comedy, something like “Ride Along” or “Ride Along 2.”
  10. Plus One
    Every minute Erskine isn’t on screen is a minute wasted.
  11. Our Time
    The movie asks a lot of the viewer, but to this viewer, it gave back more.
  12. Men in Black: International
    F. Gary Gray can be a fine action director and sometimes better than fine, but the scenes that should pop and pow — given the squealing tires, bared knuckles and laser beams — consistently fall flat.
  13. Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese
    Dylan was interested in how movies stop time, but he also told Ginsberg that he wanted “to be entertained,” adding, “If I see a movie that really moves me around I’m totally astounded.” To watch Rolling Thunder Revue is to understand what he meant.
  14. The Reports on Sarah and Saleem
    Alayan’s light directorial touch can make the storytelling seem overly straightforward. But his tight control over the proceedings becomes clear in a closing shot that elegantly encapsulates the film’s complexities.
  15. All Is Well
    Trobisch has made a drama of tragic accommodation — limited not to one woman’s sexual assault, but to the everyday interactions that all women must navigate carefully.
  16. 16 Shots
    16 Shots remains valuable as a record of past events that hold sway over the present.
  17. The Raft
    By setting Genovés’s words in counterpoint with the recollections of seven of the participants who are still alive, [Lindeen] reinterprets the experiment, finding meanings that the scientist missed.
  18. Framing John DeLorean
    Framing John DeLorean doesn’t fully answer its own central question, and leaves several others hanging as well. As frustrating as this can be in hindsight, the movie, while it’s playing, is unfailingly engrossing.
  19. The Last Black Man in San Francisco
    Mostly, the movie has a cascade of images and ideas, reference points and glimpses of everyday beauty that flow and swirl and, over time, gather tremendous force.
  20. Dark Phoenix
    Kinberg does better when he goes big, which suits this franchise delivery system. For the most part he just moves characters from point A to B, pausing for face-to-face heart to hearts before the next blowout. But the mayhem is generally coherent and executed with clean, crisp special effects, even if Kinberg settles for slo-mo clichés.
  21. Nureyev
    Nureyev, directed by the brother-and-sister team of Jacqui Morris and David Morris, suffers from a common documentary-film problem: great story, not-so-great storytelling.
  22. This One's for the Ladies
    The movie’s determination to make stripping mundane has a way of infecting the film. Even the dancing sequences, often shot in poor lighting as if on a smartphone camera, look perfunctory.
  23. Ghost Fleet
    Ghost Fleet hits its marks as advocacy, but editing might have put more emphasis on the individual men, added further detail about the illicit networks or tracked Tungpuchayakul’s journey in a more focused and suspenseful manner.
  24. Papi Chulo
    Papi Chulo tries to subvert the conceit that casts brown people as uncomplicated support systems for conflicted white people, but lacks the vision to transform these familiar stereotypes.
  25. The Black Godfather
    Because one of this Netflix documentary’s producers is Avant’s daughter, Nicole A. Avant, and both she and her husband, Ted Sarandos, Netflix’s head of content, appear as talking heads, this overlong love-in sometimes plays like an illustrated conflict of interest. But the anecdotes are gold.
  26. Funan
    Do’s tale is resolutely earthbound. He uses animation as an interrogation into the practice of fictional depiction derived from actual atrocities.
  27. Pavarotti
    This is a film too enamored of its subject to pry very deeply. And yet, it’s hard not to be enamored as well, as Pavarotti’s larger-than-life personality shines in almost every scene.
  28. Leto
    Weaving a glancing love triangle into a poignant observation on the waxing and waning of creativity, Serebrennikov revels in radiant black-and-white scenes of urban grit. The vibe veers from grungy to blissful, the characters’ earnest charisma serving as the movie’s force field against criticism.
  29. The Secret Life of Pets 2
    Too scattered narratively to cohere, and yet somehow still funny enough to justify its existence, The Secret Life of Pets 2 makes for an entertaining trifle.
  30. Late Night
    Every time you think Late Night is settling into familiar tropes — about workplace politics, mean bosses, long marriages, fish out of water, bootstraps and how to pull them — it shifts a few degrees and finds a fresh perspective.
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