The New York Times' Scores

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For 20,271 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: 9,377 out of 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
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  1. Science Fair
    Thanks to its lovable subjects, Science Fair nails the presentation, but its research is only surface deep.
  2. Hale County This Morning, This Evening
    The filmmaker’s poetic logic is inextricable from his consciousness of race and community, and of his function and potential as an artist grappling with his own circumstances and those of the people he’s depicting. “Hale County This Morning, This Evening” is not a long film, but it contains whole worlds.
  3. The Children Act
    The movie finally punts on grappling with its ambiguities. The finale feels functional rather than haunting.
  4. The Predator
    The frat house atmosphere eventually gives way to tedious bloodletting. In that regard, The Predator hasn’t evolved at all.
  5. I Think We're Alone Now
    A haunting first half can’t offset the absurd ending of I Think We’re Alone Now, a post-apocalyptic tale with a late plot twist that feels as if it comes out of left field. And right field. And center field, the stands and the dugout, too.
  6. Where Hands Touch
    The stridently theatricalized violence is horrific only because it’s so abjectly manipulative. By the end of the movie, my jaw felt unhinged from dropping so often.
  7. The Public Image Is Rotten
    Even if you’ve scratched your head over Mr. Lydon’s TV ad work and other efforts to maintain a professional life in recent years, this affectionate and frank movie can elicit newfound admiration for a slightly mellowed iconoclast.
  8. Reversing Roe
    It’s less interested in rendering a verdict on the morality of abortion than it is in tracing the increasing politicization of the issue.
  9. White Boy Rick
    Squint and you can sometimes make out the bigger, more complex stories in White Boy Rick, including those of a great city violently brought low; of fragile communities left to fail and rot; and of a legal system that seems permanently broken. Too often, though, the movie traffics in genre clichés and the usual suspects.
  10. Lizzie
    Lizzie isn’t perfect — the pacing can flag, and the lovely Kim Dickens, as Lizzie’s older sister, barely registers — but Ms. Sevigny’s intelligence and formidable control keep the melodrama grounded. Her empathy for Borden, whose fragile constitution belies a searing will, is palpable, as is the sense of inescapable peril surrounding the two female leads.
  11. To All the Boys I've Loved Before
    Ms. Johnson directs the picture with an assurance that matches that of her plucky protagonist.
  12. Sierra Burgess Is a Loser
    There’s sharp dialogue throughout.
  13. Peppermint
    Peppermint is a belabored exercise in lazily constructed déjà vu, without the grit or stylized ham of predecessors it so baldly steals from.
  14. Hal
    It’s a consistently engaging trip. Ms. Scott has assembled a nice, fairly well-rounded group to testify on her subject’s behalf, including people who were part of Ashby’s foundational years in Hollywood — most important, the director Norman Jewison.
  15. The Apparition
    Mr. Lindon, who carries his powerful masculinity with canny reserve, is superb as a man inquiring into a faith he had previously thought had nothing to do with him. But Ms. Bellugi is a real find; she inhabits her character, who, even as she hides her secrets, is so genuinely beatific that you can hear it in her breathing.
  16. Kusama - Infinity
    Kusama — Infinity, while conventionally structured, provides ample, illuminating access to an artist’s way of thinking and working.
  17. Five Fingers For Marseilles
    In stylish and entertaining fashion, Five Fingers for Marseilles looks over the South African countryside and finds fresh vistas for the western genre.
  18. I Am Not a Witch
    The film is perhaps overly repetitive in emphasizing Shula’s inability to escape exploitation, but the story is put across with formal confidence and real originality.
  19. Nelly
    The character Ms. Émond and Ms. Mackay create is not likable, but is puzzling in an engrossing way. I am not sufficiently familiar with Ms. Fortier’s work to weigh in on how accurately this film represents it, but as an act of complex homage, “Nelly” gets to a few interesting places.
  20. Blaze
    The usual sequence of ballad-of-a-tormented-artist verses plays out: early promise; success and betrayal; redemption and death. What pulls against the relentless momentum of biography is the sweet inertia of life, a lot of which is spent drunk, in bed, on the road, hanging out with friends or all of the above.
  21. The Nun
    The franchise has proved to be a reliable if variably elegant “boo” machine; the same applies here. Specters and hallucinations appear without consistent narrative logic. Characters veer off separately when teamwork might reduce brushes with demons or death.
  22. Bisbee '17
    Even though Bisbee ’17 depicts a wholesome and harmonious community undertaking, it is a profoundly haunted and haunting film. What we are witnessing is not the commemoration of a past disaster but its reanimation. Every important thing this movie is about is still alive.
  23. Destination Wedding
    All right, then, let’s rip off the Band-Aid: Destination Wedding is torture. And not just because this would-be romantic comedy is grating, cheap-looking and a mighty drag: it also turns two seasoned, likable actors into characters you’ll want to throttle long before the credits roll.
  24. Let the Corpses Tan
    A formalist experiment that soon devolves into a mannerist indulgence.
  25. Pick of the Litter
    In short, Pick of the Litter makes for unexpectedly suspenseful (and perhaps not entirely reputable) viewing.
  26. Active Measures
    This formidable film is sometimes zealous to a fault: The credits cite more than 200 sources of archival material, from The Washington Post to YouTube channels. It’s a lot to take in, as names and numbers zip by, yet missing some of its points may be healthy. To explore every moment is to risk overdosing on outrage.
  27. A Paris Education
    Mr. Civeyrac leads Étienne into anxious imitations of the past, and the possibility of making art fueled by the present never materializes.
  28. The Little Stranger
    The twisting and cracking of the British class system is always fascinating to observe, and The Little Stranger traces the details of its chosen moment of social change with precision and subtlety, and with its own layers of somewhat dubious nostalgia.
  29. Kin
    Kin is insufferable, self-seriously combining shut-in nerdiness with wannabe macho pyrotechnics. It’s Bro Cinema in all the worst imaginable senses of the term.
  30. Reprisal
    Even those inclined to sympathize with that premise politically may feel insulted by the plot hole-a-palooza offered here to support it.
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