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. Stuck
    When the characters are singing, you can’t wait for them to get back to talking. And when they’re talking, you can’t wait for them to get back to singing. After a while, you start wishing you were watching that TV ad with a bunch of people on a bus, singing about how they have a structured settlement but they need cash now.
  2. Instant Dreams
    Baptist’s approach, treating his subjects like characters in a drama, is ultimately frustrating.
  3. Grass
    When the writer opts to just let things be, the movie is at its most content.
  4. Rafiki
    This is a love story for the time, not for the ages.
  5. Little Woods
    DaCosta is better at setting scenes than digging into them.
  6. Fast Color
    Moody and strange, Fast Color has a solemnity that haunts almost every frame.
  7. Naples in Veils
    A tedious muddle.
  8. Under the Silver Lake
    The sweet smarts of Mitchell’s first movie, “The Myth of the American Sleepover” (treated to a bit of auto-allusion in “Silver Lake”) aren’t much in evidence here. Nor are the slippery psychosexual scares of “It Follows,” his breakthrough horror movie from 2015. The ambitions this time are grander, but also vaguer and duller.
  9. Hail Satan?
    Wry and illuminating.
  10. Breakthrough
    You don’t have to believe in divine intervention to be moved by this story.
  11. Penguins
    [A] beautiful but frustratingly shallow Disneynature documentary.
  12. Wild Nights with Emily
    This is an irreverent film, but its lightness is meaningful. With each silly flourish, Olnek offers joy and companionship to a figure whose history was more conveniently presented to generations of readers as solitary.
  13. Teen Spirit
    Teen Spirit, Max Minghella’s sweet and touching directing debut, is both proudly clichéd and refreshingly different.
  14. Missing Link
    What’s missing from the movie, for all its technical skill, is simply inspiration — that extra touch of wit or imagination that might elevate it from a pleasant diversion to a rare sighting.
  15. Girls of the Sun
    Inspired by a 2014 ISIS raid on Kurdish territory, Girls of the Sun, unlike the women who populate it, is weak and often corny.
  16. Satan & Adam
    The blues seep into every scene of Satan & Adam, a gritty yet lovely documentary. And even after the songs stop, the music’s bittersweet emotions linger.
  17. The Most Dangerous Year
    While The Most Dangerous Year can be intensely personal — Knowlton speaks of the pain she felt watching visitors to a strawberry festival sign the petition for the anti-transgender ballot measure — it is primarily an informational documentary, not a film with artistic pretensions. But it makes its case effectively.
  18. Mary Magdalene
    Unfortunately, it’s a confused and frequently enervating effort.
  19. Dogman
    Social realism in a symbolist key, Dogman is at times more pleasurable to look at than to experience.
  20. Master Z: Ip Man Legacy
    A lively, fun one.
  21. Long Day's Journey Into Night
    Its various components defy logical arrangement both as viewed and in retrospect. What they build up to is even more seductive than anything that led up to it — a moment of breathtaking romanticism that’s as intoxicating as it is unexpected.
  22. Hellboy
    Marshall, a world away from the dank dread and crawling terror of his 2006 spelunking stunner, “The Descent,” directs like a dog at a squirrel convention, charging gleefully from one witlessly violent encounter to the next. Ian McShane, as Hellboy’s adoptive father, does what he can to calm the chaos, but the movie left me alternately baffled and battered.
  23. Stockholm
    Drowsy in feel and muted in color, Stockholm is lightly amusing and watchable — mostly thanks to Hawke — but never makes the case that this is a story that needed to be told, with or without laughs.
  24. Her Smell
    Moss strips away every shred of her charm to reveal her charisma in its rawest state, implicating Perry and the audience in a voyeurism that can feel almost holy.
  25. Sauvage / Wild
    It’s tough to build a character study around an unconvincing character.
  26. Little
    Little is overly protective of its characters and its audience; it’s soothing rather than sharp. That’s most likely because of an anxious concern for grown-up sensitivities. Smart 13-year-olds are likely to roll their eyes as well as laugh.
  27. Unicorn Store
    The message here is that there’s no one-size-fits-all formula for adulthood, but the film doesn’t bear it out.
  28. Suburban Birds
    The spectacular feature-directing debut of Qiu Sheng.
  29. Reinventing Rosalee
    If you can look past the low-grade production values — and to do that you’ll need two awfully forgiving eyes — Reinventing Rosalee delivers a few rewards, thanks to its vibrant subject and her noteworthy life.
  30. The Wind
    The movie’s most striking aspect, though, is Lyn Moncrief’s arresting cinematography, which turns the vast vacancy of the plains into both hostile observer and hellish metaphor. The story might finally slip its leash, but the baleful mood holds firm.
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