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. Miss Dalí
    Relentless, spell-it-all-out dialogue is wedded to a clunky visual approach that’s pretty much the cinema equivalent of a wikiHow entry.
  2. Widows
    The result is a fascinating and sometimes frustrating hybrid, a film that tries both to transcend and to exploit its genre.
  3. Under The Wire
    While the movie is rightfully more interested in lauding her bravery than highlighting her sometimes abrasive personality, these small moments help to humanize a portrait that can at times seem more awestruck than enlightening.
  4. The Clovehitch Killer
    With its achingly slow build and understated performances, The Clovehitch Killer strains to surmount its lack of urgency.
  5. Mobile Homes
    This is an atmospheric, well-acted film that leaves us mostly cold.
  6. Cam
    Cam is more successful as an oddly feminist tale of gutsy self-reliance than as a fully developed drama.
  7. Jonathan
    The movie, itself somewhat torn in sensibility, permits itself an easy out.
  8. The Last Race
    Dweck divides his efforts between elegiac tone poem and shaggy-dog ensemble piece.
  9. Of Fathers and Sons
    Of Fathers and Sons is ultimately more impressive for its access than it is revealing of drives or beliefs. If Derki’s goal was to capture what causes ideology to spread, he and his camera look without seeing.
  10. Instant Family
    Instant Family isn’t a hellish movie, although it is very much a Hollywood one.
  11. Shoah: Four Sisters
    Their stories are as harrowing, complicated and rife with imponderables as any Lanzmann filmed. And together, collected in a form that is much less labyrinthine than “Shoah,” they represent an ideal introduction (and capstone) to Lanzmann’s project.
  12. Fantastic Beasts: The Crimes of Grindelwald
    It’s an embarrassment of riches, and it’s suffocating.
  13. Outlaw King
    Mackenzie does nice, tight work now and again, mostly in more intimate sequences, but too many scenes drag, and his fetishistization of violence proves numbing.
  14. The Price of Free
    The Price of Free is interested in spreading the word about Satyarthi’s work, both in India and globally, and in getting consumers to approach what they buy with a critical eye, so as not to support child labor. That’s an important message, and it’s not essential to watch the movie to receive it.
  15. Overlord
    As seen in the film’s terrifying opening and its gruesome climax, Avery deftly orchestrates some grisly, intense set pieces. He delivers on the thrills, even if the story leaves something to be desired.
  16. Postcards from London
    The film’s elegant compositions themselves are painterly, with the actors carefully posed; and the atmosphere is theatrical, with crisp line readings and sparsely populated frames. Those elements, plus a meandering story line, may not make for a particularly involving narrative experience. But it sure is nice to look at.
  17. The Ballad of Buster Scruggs
    The Ballad of Buster Scruggs is one of the darkest movies by Joel and Ethan Coen, and also among the silliest. It swerves from goofy to ghastly so deftly and so often that you can’t always tell which is which.
  18. Here and Now
    It all adds up to a film aiming to be a moving character study (and an ostensible homage to Agnés Varda’s “Cléo From 5 to 7,” a far more vivid exploration of existentialism), but instead feels adrift.
  19. Weightless
    Several long, wordless stretches arise during the film, all of them thoughtful. Jaron Albertin, directing his first feature, cultivates tension in small moments and doesn’t force the drama.
  20. Pimp
    Lousy with stereotypes and filthy language, the sordid Pimp wraps 21st-century blaxploitation in a lesbian love story as unconvincing as every other relationship on screen.
  21. The Long Dumb Road
    The leads’ chemistry nearly redeems this shopworn setup, and the movie is at its best when it simply chills out with them.
  22. Infinite Football
    While the movie has allegorical resonances with the political and human rights disasters of 20th-century Romania, by the end, its surfaces, while remaining superficially unimpressive, open up as the film moves from epistemological speculation onto a plane of mysticism. This relatively short film contains worlds.
  23. Number 37
    Cheerfully derivative yet doggedly entertaining, Number 37 benefits from Dumisa’s slick execution and impressive acting by her small cast.
  24. In a Relationship
    The upshot is a gentle, gossamer movie that, like its soundtrack, goes down easy and is almost instantly forgotten.
  25. Chef Flynn
    Chef Flynn is an engaging documentary about McGarry’s boy-to-man journey.
  26. El Angel
    Carlitos’s sole reason for living is moving from one transgression to the next. The same might be said of the movie, which superficially probes his amorality while exploiting it for slick thrills.
  27. The New Romantic
    Mirroring its green protagonist, The New Romantic presents an image of sophistication while playing with ideas that are out of its depth.
  28. The Girl in the Spider's Web
    Alvarez tries to pep things up with chases, near escapes, dramatic rescues, fetish wear and female nudity. But the whole thing is a bummer, at times risible.
  29. The Grinch
    The filmmakers keep the visuals merry and popping bright. Benedict Cumberbatch, voicing the Grinch, opts not to compete with Karloff at all, which is smart, and speaks in an American accent, sounding rather like Bill Hader, which is confusing.
  30. The Front Runner
    Reitman uses Altmanesque sound design and serpentine camera movements to convey the chaos and kineticism of a process in constant, frantic motion. But after a while, once we’ve met the principal players, the speechmaking starts and a potential comedy of political manners turns into a pious, tendentious morality play.
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