The New York Times' Scores

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For 20,278 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: 9,380 out of 20278
  2. Mixed: 8,434 out of 20278
  3. Negative: 2,464 out of 20278
20278 movie reviews
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  1. The Photographer of Mauthausen
    Targarona began as an actor before becoming a producer and, finally, a director. The Photographer of Mauthausen is her second feature, but if feels like the work of an old pro — vivid, involving and frequently terrifying.
  2. Tyler Perry's A Madea Family Funeral
    What Perry lacks in filmmaking rigor — like its predecessors, “Family Funeral” is a bit of a mess, formally and technically — he makes up for in generosity. The movie is the usual plateful of low humor and high melodrama, in no particular hurry to make its way through a busy plot.
  3. The Boy Who Harnessed the Wind
    Though hobbled by an obviousness that dampens any suspense, this sensitive, environmentally concerned movie is most successful when steeped in the particularities of its location.
  4. The Iron Orchard
    This lovingly made homage to avarice feels strangely limp. Instead of gushing, it trickles.
  5. Woman at War
    Approaching weighty themes with a very light touch, Benedikt Erlingsson’s Woman at War is an environmental drama wrapped in whimsical comedy and tied with a bow of midlife soul-searching.
  6. The Wedding Guest
    The scenery, nicely shot by Giles Nuttgens and covering a wide swath of the country — Amritsar, New Delhi, Jaipur and Goa — is always great, and Patel and Apte’s chemistry approaches scalding levels as their characters grow closer.
  7. Saint Judy
    While the viewer can intuit that Hanish has a strong clear story to tell, the director too often tricks things up.
  8. Climax
    Even though the techniques are immersive — plunging you into a disorienting reality that mirrors the drug-fueled frenzy you are witnessing — the effect is also curiously distancing.
  9. Joseph Pulitzer: Voice of the People
    While there are amazing anecdotes here, there is little to catch the eye or ear.
  10. Sharkwater Extinction
    Stewart recounts how he thought that if his films could make people love these animals, he could push popular opinion against their being hunted. He doesn’t quite pull this off here, despite impressive footage of him swimming with sharks. He does, however, convince us that these superpredators are important to oceanic ecosystems and that because they are so indiscriminate in their eating habits, they are full of toxins.
  11. The Hole in the Ground
    In a film where the central horror is the otherworldly absence of personality, the intended fear is undermined by the presence of a mother and son whose flawlessness is itself unnerving.
  12. Mapplethorpe
    Mapplethorpe, directed by Ondi Timoner, is a fictionalized biography of the photographer that is most alive when it’s putting its subject’s pictures on the screen, which it does often. And should have done more, because the movie is otherwise as timid as its subject was bold.
  13. Giant Little Ones
    Where many coming-of-age films build their stories around the discovery of a fixed selfhood, “Giant Little Ones” succeeds when it chooses to treat youthful identity as open to shift with accumulated experience.
  14. Transit
    By turns intimate and expansive, Transit is a thrilling, at times harrowing labyrinth of a movie.
  15. Apollo 11
    Although we know how the mission turns out, the movie generates and maintains suspense. And it rekindles a crazy sense of wonder at, among other things, what one can do practically with trigonometry.
  16. Styx
    A taut moral thriller, Styx is a story of what happens when self-reliance runs into other people’s desperation.
  17. Greta
    The point, and the fun, is the wild mischief of Huppert’s performance, which grows lighter and more joyful as Greta’s behavior slides from menacing to murderous.
  18. Paddleton
    Paddleton is so keyed into its protagonists’ various idiosyncrasies that it seems hesitant to grapple with its own central tension.
  19. Prosecuting Evil
    The main interest lies with Ferencz himself, who comes across as thoughtful, principled and engaging in a film that, in keeping with his demeanor, is a modest profile rather than a sprawling portrait.
  20. How to Train Your Dragon: The Hidden World
    If you’ve spent any time with these characters, it’s hard not to get swept up in the saga, and it’s easy to be moved by the bond between Hiccup and Toothless, who is, in effect, a very loyal dog who can fly and harness the power of lightning bolts.
  21. Wrestle
    Wrestle isn’t slick or impartial, and doesn’t claim to be, yet the movie has a raw honesty that disdains forced uplift.
  22. The Changeover
    Thanks to fine performances and a narrative that doesn’t hang about to admire itself, the movie goes down as easily as a love potion at a coven.
  23. Holiday
    Because Eklof’s approach is formally very clean, showing some genuine, intriguing detachment, I’m apt to prefer it to Seidl’s work. But not by much.
  24. The Competition
    The movie’s most provocative aspect is its near-methodical portrayal of hive-mind thinking pursued as a kind of norm — not just by the examiners, but the hopeful applicants.
  25. The Wandering Earth
    It is just as awash in murky computer imagery, stupefying exposition and manipulative sentimentality as the average Hollywood tentpole.
  26. The Breaker Upperers
    This collaboration between Jackie van Beek and Madeleine Sami — who wrote, directed and star together — exhibits their fairly irresistible comic chemistry, even if the conceit of the movie wears a bit thin.
  27. Hotel by the River
    Hotel by the River is — surprisingly, from the standpoint of a skeptic — one of Hong’s most unexpectedly poignant works, self-reflexive in a way that feels searching rather than rote.
  28. Parkland: Inside Building 12
    The movie, directed by Charlie Minn, is unbearable to watch, yet its centering of first-person testimony — supplemented with floor plans of the building and phone footage from that day — makes the massacre immediate in a way that sometimes gets lost in news coverage or political debates.
  29. A Tuba to Cuba
    High on music and hot with the thrill of discovery, A Tuba to Cuba swarms with shiny happy people.
  30. Donnybrook
    Ear-shredding to listen to (the soundtrack, between chunks of a comically portentous score, is mostly thrash metal) and soul-destroying to watch, the movie trembles with tragedy. Yet because almost everyone and everything — dialogue, image, setting — is presented in such broad, symbolic strokes, we feel absolutely nothing.
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