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. The Last Laugh
    The picture’s single saving grace is Chase’s co-star Dreyfuss, who deploys all of his considerable charisma. He shines, but not brightly enough to bring this moribund project to life.
  2. What Is Democracy?
    Like democracy itself, the movie assumes such a broad mandate and has such noble intentions that indicating its shortcomings seems almost beside the point.
  3. Lionheart
    It is globally minded filmmaking that is also comfortingly familiar.
  4. Ashes in the Snow
    There are a few powerful images.
  5. Pledge
    If you like your torture movies tight, twisty and decently executed, then Pledge is for you.
    • 77 Metascore
    • 80 Critic Score
    And Breathe Normally
    It engages the audience with a deeply resonant narrative that highlights the ways our sense of safe keeping can suddenly be ripped from our grasp. And it reminds us of the power we possess, even when we think we’re helpless.
  7. Perfect Strangers (Perfectos Desconocidos)
    This picture is well acted (one of the cast members, Manuel García-Rulfo, has a growing profile in Hollywood; he was seen last year in “Widows” and “Sicario: Day of the Soldado”) and maintains narrative interest without ever grabbing the viewer by the lapels.
  8. The Upside
    Some squinting will be required to block out the race and class stereotyping, as well as the puddles of sentiment scattered throughout the highly predictable plot. Yet Jon Hartmere’s script has genuinely funny moments and is blessedly short on crassness.
  9. A Dog's Way Home
    As ridiculous as it gets, and that’s plenty, A Dog’s Way Home manages to serve up a one- to two-hankie finale, depending on the extent of your dog-person-ness.
  10. The Aspern Papers
    Too bad that the best that can be said about the woeful movie version of the The Aspern Papers, based on the Henry James novella, is that it might send you running to the original.
  11. Touch Me Not
    You could say that what the film is about lies just beyond the reach of images or words. It’s a necessarily cerebral meditation on the nature of physicality.
    • tbd Metascore
    • 70 Critic Score
    Newly Single
    An examination of the unconscious racial bias embedded in Izzy and Astor’s interactions would have made for a more revelatory take on relationship dysfunctions. Still, Izzy’s despair and self-loathing force Astor to confront his own, redeeming an often insufferable protagonist and ultimately salvaging the film.
  13. Escape Room
    There are intimations of “Tales From the Crypt,” “Final Destination,” “The Game,” and other older, better films here; this movie never catches a fire like any of those did, and even its twist coda feels dreary and pro forma.
  14. Rust Creek
    Corfield is fine in a role that gives her little opportunity to do more than run and fight, but a woman this empowered removes the question mark from her survival — and the tension from the movie.
  15. The Venerable W.
    Schroeder’s approach is calm, almost detached, in keeping with his other work (although the choice of de Medeiros to speak for Buddhism, and with a nonspecific Asian-seeming accent at that, struck me as an avoidable misstep); this makes the bleakness of what he recounts (which is buttressed by an insinuatingly menacing score by Jorge Arriagada) that much more resonant.
  16. The Vanishing
    While Jorgen Johansson’s windswept photography creates a credible sense of isolation (he filmed in part at the Mull of Galloway lighthouse), we sense the ominous rhythms of impending calamity.
  17. State Like Sleep
    The images serve the dialogue, but they are not given a chance to expand the story, depriving the movie of texture and energy. Danluck dives with Katherine into the depths of grief-stricken obsession, and her film suffocates for want of room to breathe.
  18. Genesis 2.0
    While the sights and sounds here are unique, the movie seems frustratingly torn about whether to buy the futurism and mysticism it’s selling.
  19. Stan & Ollie
    Steve Coogan and John C. Reilly deliver dynamite performances that capture the expressions and physicality of the star comedians without ever descending into caricature. They never strain for laughs but are consistently amusing.
  20. Holmes & Watson
    There is still intermittent joy to be found in their autumnal bromance.
  21. On the Basis of Sex
    On the Basis of Sex does a brisk, coherent job of articulating what Ginsburg accomplished and why it mattered, dramatizing both her personal stake in feminist legal activism and the intellectual discipline with which she approached it.
  22. Destroyer
    Kusama is still figuring out how to balance form and pulp, but she has a singular unapologetic idea about what women can and cannot do onscreen, one she lets rip with verve and her superbly unbound star.
  23. Bad Seeds
    There’s some fun in watching Wael con his students into learning — while also teaching them the art of the con — but the film . . . can’t keep the sentiment at bay for long.
  24. Avicii: True Stories
    The director, Levan Tsikurishvili, never reconciles the movie’s competing impulses. It’s part promotional video, part backstage doc and — in retrospect — part tragedy.
  25. The Last Resort
    The cultural transformation and re-transformation of Miami Beach (specifically its southern tip, South Beach) is a story that’s fascinating, poignant, garish and, in some ways, befuddling.
  26. American Renegades
    Part of the thrill of heist movies is in watching a caper take shape before its execution. But the director, Steven Quale, rushes through the planning stages; there’s no obstacle that can’t be overcome with a quick line of exposition.
  27. Between Worlds
    While fragments of past, present and who-knows-what events flash past, Cage, bless him, fully commits to the nuttiness.
  28. Cold War
    The movie is filled with ordinary and surprising beauty, with gleaming and richly textured surfaces, and the kind of velvety black chiaroscuro you can get lost in. Its greatest strengths, though, are its two knockout leads, who give the story its heat, its flesh and its heartbreak.
  29. Welcome To Marwen
    What makes the movie interesting — and disturbing on a few different levels — is how its sentimental, inspirational elements do battle with darker impulses.
  30. Second Act
    This is Jenny from the blah.
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