The New York Times' Scores

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For 20,268 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 4.3 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: 9,377 out of 20268
  2. Mixed: 8,427 out of 20268
  3. Negative: 2,464 out of 20268
20268 movie reviews
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  1. Elio
    Before long, the fleetingly liberated child and the filmmakers’ imaginative playfulness are boxed up, and the whole thing turns into yet another superhero adventure.
  2. Shanghai Blues
    “Blues,” playing now in a 40th anniversary restoration, is a constant charmer. Watching it is a buoyant experience even when the humor is a bit tasteless, including a bit involving mistaken sex partners during a blackout.
  3. Everything's Going to Be Great
    By turns heartfelt and, especially in the ghost tête-à-têtes, irksome, the movie is helped substantially by its cast, especially Cranston, who brings a welcome sincerity to a quixotic, potentially cloying character.
  4. 28 Years Later
    These nods at a past that’s by turns historic and romantically mythic, feed an undercurrent of tension that Boyle builds on, one kill at a time.
  5. Bride Hard
    A smorgasbord of unconvincing danger and semi-schmaltzy lessons in friendship, Bride Hard is rarely as funny as it could be.
  6. Sally
    Sally, a welcome but unadventurous documentary about the astronaut Sally Ride (who died in 2012), wraps a risk-taking personality inside a risk-averse package.
  7. Sex
    Sex is a curious movie, with a mix of moods and intentions that are, by turns, inviting and seriously off-putting.
  8. Materialists
    Is heterosexual romance doomed, is the romantic comedy? Those questions swirl with light, teasing provocation in Celine Song’s “Materialists,” a seductive, smartly refreshed addition to an impossibly, perhaps irredeemably old-fashioned genre that was once a Hollywood staple.
  9. How to Train Your Dragon
    To be sure, this new iteration is entertaining, bears a sense of heart and brings a tight script of fantasy and friendship to life.
  10. Tatami
    The mounting tensions of these moving parts — and steely performances by Mandi and Amir — make for an engrossing thriller fueled by female rage.
  11. Deep Cover
    The ensemble is packed with seasoned acting professionals across the board, who more than sell their drunk scenes and deliver more than a few laughs on their way to redemption.
  12. Echo Valley
    Battling downpours and an abundance of nighttime shadows, the cinematographer Benjamin Kracun adds a classy, coppery richness where he can. But “Echo Valley,” directed by Michael Pearce (whose 2018 feature debut, “Beast,” mingled equally dissonant themes with far greater dexterity), is ultimately undone by Brad Ingelsby’s distracted script.
  13. Will
    With its rough-hewed realism, “Will” is remarkable not so much for its craft as for its philosophical depth in portraying the tensions between a struggling individual and his community, which can be both supportive and enabling.
  14. Meeting with Pol Pot
    Panh powerfully interweaves real footage of starvation and mass death — sometimes projecting it behind the characters or matching it to Paul’s eyeline. He also brings back the main conceit of “The Missing Picture,” which used clay figurines to depict certain events.
  15. Titan: The OceanGate Disaster
    Directed by Mark Monroe, the film wisely does not linger in the lurid details of the Titan’s catastrophic end, and instead uses an investigative framing that sketches the company’s origins and use of carbon fiber while chronicling a series of problematic dives leading up to its final plunge.
  16. Straw
    The ending is perhaps too twisting for its own good. But Henson — so deeply committed to her character’s emotional cratering — still makes us care.
  17. Slumlord Millionaire
    Because Slumlord Millionaire has assembled a dynamic and engaging group of activists, it seems churlish to complain that it hasn’t found a way to make the material cinematic.
  18. The Last Twins
    Here, heroism is presented less as a feat of preternatural bravery than a series of choices made by someone who simply refused to give up his humanity.
  19. Dangerous Animals
    This is a horror movie about horror movies made by people who seem to have spent more time observing horror movies than the real world. Making this work requires wit, the right tone and a ruthless sense of pace. Byrne manages all three with a sure hand.
  20. I Don't Understand You
    In trying to be both subversive and sincere, I Don’t Understand You ends up not quite pulling off either.
  21. The Life of Chuck
    Ejiofor fills in Marty with dabs of personality and a sense of decency that suggests that while humanity is lost, not every individual is. It’s too bad the movie doesn’t stick with Marty, who warms it up appreciably.
  22. The Ritual
    Topping it all off is a deliberately shaky and agitated shooting and cutting style that heightens nothing. Just watch “The Exorcist” again.
  23. Sunlight
    A little of Sunlight, which she directs and co-wrote with Allen, goes a long way. But there’s still something to seeing a performer go for broke, purging a character’s shame and despair through a screwy, confessional sense of humor.
  24. Ballerina
    Directed, with workmanlike efficiency, by Len Wiseman, “Ballerina” is at once insultingly facile and infuriatingly obtuse, its unmodulated tumult leaving little room for nuance or personality.
  25. Mountainhead
    Still, what Mountainhead lacks in depth, it makes up for in satirical daring. Armstrong’s hallmarks are present: a brutal sense of interpersonal power dynamics, a flair for creative profanity, an abiding belief that the worst people will succeed.
  26. Bring Her Back
    I’m beginning to think that the Philippous don’t just want to shatter our nerves: They want to break our hearts.
  27. Tornado
    The movie quickly establishes itself as a revenge narrative, and each bad guy goes down in a way designed to suit the viewer’s justified bloodlust.
  28. Ghost Trail
    The cat-and-mouse game, which involves Hamid tracking his suspect throughout campus, plays out in a relatively low-key manner, with the film relying on Bessa (and eventually, an eerie Barhom) to deepen the survivor’s dilemma.
  29. Karate Kid: Legends
    There is at once a roughshod, zippy energy coupled with a sedateness here that results from the simple fact that the film never quite knows how to square the pure awkwardness of two teachers — two stars from different eras of a franchise — instructing a karate kid at once.
  30. The Phoenician Scheme
    It’s overstuffed, and thus skims and skitters across the surface of everything it touches, only glancing here and there before it’s taking off to the next story beat, the next exquisitely detailed composition.
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