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. Narcissister Organ Player
    Narcissister’s background in stagecraft, movement and rhythm serves her well as a filmmaker: Far from a conventional autobiography, Narcissister Organ Player always offers something to catch your eye or ear.
  2. Nobody's Fool
    If the movie’s looseness lets in an excess of dead air, “Nobody’s Fool” is still dotted with pleasures besides those Haddish brings.
  3. Monrovia, Indiana
    While there’s no reason to suppose that this is Wiseman’s last movie, it doesn’t seem impossible that, at 88, he is aware of lengthening shadows and autumnal tints, of the fragility of perception and the finite nature of consciousness. Monrovia, Indiana is not precisely about any of those things, but it carries intimations of them, elegiac strains amid the doggerel of daily life.
  4. They'll Love Me When I'm Dead
    Neville was inspired by Josh Karp’s engrossing book “Orson Welles’s Last Movie,” which goes into greater detail than Neville can in 98 minutes. Karp also pays closer attention to Welles’s artistic process, which in the documentary can seem little more than pure chaos.
  5. The Other Side of the Wind
    What we have is something of a seductive tease, a haunted film that at times entrances and delights and at times offends and embarrasses.
  6. Marfa Girl 2
    Clark likes to linger on close-ups of intertwined naked bodies, and he seems to admire these characters’ freedom. But ultimately, it all feels whisper thin: The film, already quite short, doesn’t offer enough about any of these people for us to care genuinely about what happens to them.
  7. The Grief of Others
    It’s an artful portrait of a world that refuses the order we try to impose on it when we close ourselves off to heartache, doubt and pain.
  8. Daughters of the Sexual Revolution: The Untold Story of the Dallas Cowboys Cheerleaders
    The tone is unabashedly partial, yet the women are such entertaining company it’s hard to mind.
  9. A Private War
    Anchored by Rosamund Pike’s powerhouse lead performance, this restive, raw movie slowly accumulates the heft to render its flaws irrelevant.
  10. Bodied
    With visuals as kinetic as its language, Joseph Kahn’s Bodied is an outrageously smart, shockingly funny satire of P.C. culture whose words gush so quickly you’ll want to see it twice.
  11. Searching for Ingmar Bergman
    Enthusing over an effect Bergman used in his great 1983 “Fanny and Alexander,” the director Olivier Assayas concludes, “Art defines truth.” Just about every minute of this movie shows how that’s true.
  12. Distant Constellation
    Said to be intended as a reflection on shifts in Turkish history and identity, it is too diffuse and withholding to add up to a cogent result.
  13. Maria by Callas
    The movie is to Callas what last year’s “Jane” was to Jane Goodall: A documentary that revitalizes history through primary sources, to illuminating, at times enthralling effect.
  14. 9 Fingers
    Some striking scenes notwithstanding, this movie doesn’t achieve the delirium it aspires to. It’s often flat and tame, and obvious in the wrong ways.
  15. The Nutcracker and the Four Realms
    The ballet dancer Misty Copeland, who makes a brief appearance during the film and in the closing credits, is the highlight, gracefully unhindered by silly dialogue in two dance sequences.
  16. Boy Erased
    The film’s sensitivity, though it is an ethical strength, is also a dramatic limitation.
  17. Goyo: The Boy General
    Jerrold Tarog, the director, follows the same game plan as he did in “Heneral Luna,” with sweeping music and proud speeches (he wrote the script with Rody Vera). There are also some nice images of the lush Philippine countryside and of del Pilar’s troops.
  18. Bohemian Rhapsody
    A baroque blend of gibberish, mysticism and melodrama, the film seems engineered to be as unmemorable as possible, with the exception of the prosthetic teeth worn by the lead actor, Rami Malek, who plays Freddie Mercury, Queen’s lead singer.
  19. Foreign Land
    In place of some kind of discovery there is mostly lamentation. That may be a valid response to events in Israel, but it’s not always a good way to engage a viewer.
  20. Trust Machine: The Story of Blockchain
    A hodgepodge of boosterish arguments for blockchain technology, Trust Machine: The Story of Blockchain, directed by Alex Winter (Bill of “Bill & Ted” fame), is not always a model of clarity, but it does a decent job of explaining the basic concept.
  21. Burning
    While each event expands the narrative — filling in the larger picture with nods at sexual relations, class divisions and a riven people — they don’t necessarily explain what happens or answer the fundamental question that burns through this brilliant movie.
  22. Vaya
    Using real experiences shared by the homeless in story workshops, Omotoso — who was also a creator of the South African television series “A Place Called Home” — directs with empathy and without sentimentality.
  23. A Bread Factory Part One: For the Sake of Gold
    Patrick Wang’s A Bread Factory has an immense cast, a deliberate pace and thematic ambition to spare — but it also has a ground-level, plain-spoken modesty that renders it hypnotic.
  24. A Bread Factory Part Two: Walk With Me a While
    The focus on the workings of an American institution may remind some of the expansive comedies of Robert Altman or the documentaries of Frederick Wiseman. But also, the blurring of the line between performance and reality, the embrace of an intimate theatricality, recalls the work of Jacques Rivette. These are cinematic giants, and this director may be on his way to joining them.
  25. The Dark
    Mina and Alex seem less like teenagers and more like case studies with traumas rather than personalities. The horror genre can be a pipeline into the dark corners of the psyche, but the impact of The Dark is more clinical than cathartic.
  26. London Fields
    London Fields, directed by Matthew Cullen and adapted from Martin Amis’s 1989 novel, is, quite simply, horrendous — a trashy, tortured misfire from beginning to end.
  27. Shirkers
    Like a photograph slowly developing before our eyes, Shirkers (which was also the title of the original picture) is both mystery and manhunt, a captivating account of shattered friendship and betrayed trust. The skill of the editing (by Tan and two colleagues), though, is key.
  28. 1985
    Cory Michael Smith’s performance as Adrian is a quiet marvel in a movie that’s superbly acted all around. The film’s intimate consideration of still-enormous issues is intelligent, surprising and emotionally resonant.
  29. Don't Go
    It falls on the performances to add subtle touches to the narrative’s broad strokes. George is admirably warm as the earthbound Hazel, and Dorff suggests the selfishness of his character’s selfless desperation.
  30. Viper Club
    Viper Club falters with mawkish flashbacks of the mother and son, and with its ham-fisted, repeated emphasis on the smarm of government officials. But it is mostly gripping.
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