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. 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.
  2. 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.
  3. Hunter Killer
    However nutty its geopolitics, Hunter Killer does its job as popcorn thriller with brisk efficiency.
  4. Border
    This is a movie that aims to startle in overt and subtextual ways; the less known before viewing, the better.
  5. Suspiria
    As the first hour of Suspiria grinds into the second and beyond (the movie runs 152 minutes), it grows ever more distended and yet more hollow. Unlike Argento, who seemed content to deliver a nastily updated fairy tale in 90 or so minutes, Guadagnino continues casting about for meaning, which perhaps explains why he keeps adding more stuff, more mayhem, more dances.
  6. Johnny English Strikes Again
    Johnny English Strikes Again has a few more laughs and far fewer cringes (and stereotypes) than the two films that preceded it. Plus it knows where to steal from. Watching it is like having a good time by proxy.
  7. Life and Nothing More
    A portrait of lives that can’t be reduced to statistics.
  8. Mid90s
    Like its hero, Mid90s struggles to figure out what it wants to be, and the struggle makes it interesting as well as occasionally frustrating.
  9. Impulso
    The movie’s challenge is to bottle her spontaneity, which is clearly thrilling to behold in person but less dynamic in a medium that requires every move to be selected in advance, without the suspenseful bond that an artist shares with a live audience. Belmonte gets caught between two modes of nonfiction filmmaking.
  10. A Season in France
    While the story plays a bit with the notion of the supernatural, the spirit foregrounded here is more tangible: an ominous sense of restlessness and curtailed dreams.
  11. The Waldheim Waltz
    Beckermann wants not so much to contextualize as to invoke — with the hope, perhaps, that placing us in the middle of this debate will create its own context.
  12. What They Had
    Programmatic and groaningly trite, What They Had, the debut feature from Elizabeth Chomko, would be impossible to swallow without its star-studded cast. Even so, it requires all their considerable skills to stop this soapy family drama from sliding into complete banality.
  13. The Guilty
    Unfolding in real time, this immediately involving story bends and turns in surprising, sometimes horrifying ways. Enriched by Oskar Skriver’s marvelous sound editing, which takes us from a speeding van to a bloodcurdling crime scene with equal authenticity, the movie smoothly blends police procedural with character study.
  14. Caniba
    The filmmakers, who made “Leviathan,” the striking 2012 immersion into commercial fishing, seem to be arguing that Sagawa needs to be understood beyond moralistic preconceptions. Caniba did not make the case for me. I consider Sagawa repellent, and the movie an exercise in intellectualized scab-picking.
  15. On Her Shoulders
    Alexandria Bombach’s direction and editing are exceptional; she captures images that are both subtle and formidable. Her film is, first and foremost, a profile of Murad and her mission. Yet it’s also a comment on the media and on government aid.
  16. Wildlife
    Wildlife is a domestic drama both sad and terrifying. The entire cast does exceptional work (Oxenbould is an exciting find), but the movie is anchored by Mulligan, who gives the best performance of any I’ve seen in film this year.
  17. Nigerian Prince
    In Grace’s stifling house, the electricity is dicey and the internet nonexistent. There isn’t a shower or extra bed. Just the third-world glaze of sweat and privation you see everywhere in this richly endowed land of economic imbalance, an atmosphere the film, Faraday Okoro’s feature debut, captures expertly.
  18. Galveston
    With shadowy imagery that pushes the boundaries of visibility and a mumbly lead performance from Ben Foster that strains the limits of intelligibility, Galveston goes past film noir and lands at film murk.
  19. Halloween
    This isn’t a wisecracking, tongue-in-cheek picture: Green wants us to believe in his Bogeyman, and Curtis is his ace card. Leaving no room for winks or giggles, she makes Laurie’s long-festering terror the glue that holds the movie together.
  20. Watergate
    Ferguson’s narrative is so dense and complicated, and at the same time so dramatic, suspenseful and clear, that it absorbs all of your attention.
  21. Horn from the Heart: The Paul Butterfield Story
    While the last third of Butterfield’s life is tragic, spending the better part of 90 minutes with the man and his music is exhilarating. The picture may get at least a few people talking about him again.
  22. Charm City
    The film captures up close the way violence transforms neighborhoods and families with an immediacy that transcends headlines or sensationalism.
  23. Can You Ever Forgive Me?
    Partly because the movie is so splendidly and completely absorbed in its characters and their milieu, it communicates much more than a quirky appreciation for old books and odd readers.
  24. The Price of Everything
    While this colorful and inquisitive cinematic essay on the state of the art world is occasionally skeptical and consistently thoughtful, cynicism isn’t really on its agenda.
  25. First Man
    It reminds you of an extraordinary feat and acquaints you with an interesting, enigmatic man. But there is a further leap beyond technical accomplishment — into meaning, history, metaphysics or the wilder zones of the imagination — that the film is too careful, too earthbound, to attempt.
  26. Bad Times at the El Royale
    Goddard keeps everything smoothly, ebbing and flowing as the characters separate and join together, but at some point during this logy 2-hour-and-21-minute exercise you want something more substantial than even Hemsworth’s admittedly mesmerizing snaky hips.
  27. The Kindergarten Teacher
    Fluidly capturing the trajectory of a ruinous obsession, the writer and director, Sara Colangelo, skillfully fudges the line between mentoring and manipulation, and between nurturing talent and appropriating it. Suffusing each scene with an insinuating, prickly tension, she remains ruthlessly committed to her screw-tightening tone, offering the viewer no comforting moral escape hatch.
  28. Classical Period
    Classical Period is often very funny, but it’s also poignant, imagining a milieu — part heaven, part purgatory — in which daily lives can be devoted to pondering the aggregated wisdom of the past.
  29. Sadie
    Lynskey and Schloss are well matched as mother and daughter, and Griffiths builds a relationship between them as this far-from-innocent teenager navigates her world. That rough journey is worth watching even when this film falls short.
  30. The Sentence
    By making you feel deeply for his sister and her children, Valdez has fashioned his film to make the lapses less glaring.
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