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. Nico, 1988
    Ms. Dyrholm, photographed frequently in brutally unforgiving close-up, fully captures the faded charisma of the woman whose life reads like a Who’s Who of the New York midcentury art scene.
  2. No Date, No Signature
    A tad overdetermined in its studied, snowballing ambiguities, No Date, No Signature is dramatized with an acute sense of the role of class in Iranian society, and is unfussily well directed, creating visual parallels between the two men.
  3. King of Peking
    It’s a charming, breezy father-son story but also a diverting account of Chinese film and video culture in the 1990s.
  4. The Legacy of a Whitetail Deer Hunter
    One wonders why “Whitetail Deer Hunter” chose such a relatively toothless route, but one doesn’t wonder too long, as it’s the kind of movie you forget about 20 minutes after seeing it.
  5. Killer Bees
    The movie is ultimately less about the players or even the engrossingly shot games than the idea of basketball as a tradition, one that imbues lives with meaning and bonds a community.
  6. Damascus Cover
    As one Syrian character tells another, “Timing is everything in this business,” and timing is only one flawed aspect of this uneven movie.
  7. Good Manners
    Swerving from predictable to confounding, dreamy to demented, artful to awkward, this genre-twisting hybrid from Juliana Rojas and Marco Dutra links art house and slaughterhouse with unexpected success.
  8. Our House
    While Mr. Burns hasn’t fully digested his influences, he has learned from them. Our House distinguishes itself with its purposeful pacing — the first real jump scare arrives more than a third of the way through — its use of sound and crosscutting, and its wit with household objects, from a turntable to a mechanical calendar.
  9. The Bleeding Edge
    The surgery scenes in The Bleeding Edge are squirm-in-your-seat uncomfortable. But it’s the interviews — watching patients recount agonies they’ve suffered from poorly researched and regulated medical devices — that are hardest to sit through.
  10. Scarred Hearts
    It’s the rare page-to-screen adaptation in which the camera becomes an essential character. The action often unfolds in long shot, with crowded compositions in which the principals are obscured by door frames. Over time, the withholding of conventional editing patterns and the sensitization to subtle changes in camera placement become an analogue for Emanuel’s entrapment.
  11. The Captain
    The Captain, Robert Schwentke’s harrowing World War II psychodrama, isn’t what you would call enjoyable, exactly. More accurately, it compels our attention with a remorseless, gripping single-mindedness, presenting Naziism as a communicable disease that smothers conscience, paralyzes resistance and extinguishes all shreds of humanity.
  12. Puzzle
    Like a bedtime cup of cocoa, Marc Turtletaub’s Puzzle has a soothing familiarity that quiets the mind and settles the spirit.
  13. Hot Summer Nights
    Perhaps this picture’s higher function is to be a calling card. But I don’t know what a calling-card project that demonstrates that its maker can semi-successfully mimic artistically vital but uncommercial directors is supposed to prove. For me, it mostly proved a waste of time.
  14. Teen Titans Go! To the Movies
    It’s an amusing tale for young audiences, ending with the expected messages about friendship and courage. But there are delights for adults as well, particularly in the first half, with sendups of various comic book series (some aimed at DC’s own arch-nemesis, Marvel) and an extra-large supply of spoofs on other movies.
  15. Mission: Impossible – Fallout
    There’s a whole lot of everything in the Mission: Impossible — Fallout, an entertainment machine par excellence that skitters around the world and has something to do with nuclear bombs, mysterious threats and dangerous beauties. Mostly, it has to do with that hyper-human Tom Cruise, who runs, drives, dives, shoots, flies, falls and repeatedly teeters on the edge of disaster, clinging to one after another cliffhanger.
  16. 93Queen
    Without denying that these women face discrimination in reaching their goal, the movie shows how its subjects are able to find ways to combine strict observance and progress.
  17. Calibre
    The character dynamics are recognizable in the way they hew to genre conventions. But the details provided in the writing, and by the two leads’ performances, add distinctive details and dimension here. This makes the film’s harrowing action all the more believable.
  18. The Equalizer 2
    Mr. Washington is especially strong when he trusts his director, as he did with Tony Scott and does with Mr. Fuqua. Like all great actors, Mr. Washington commits to the performance, but every so often he also breathes fire, imbuing a scene with such shocking ferocity and bone-deep moral certitude that everything else falls blissfully away.
  19. The Third Murder
    The movie opens with the defendant bashing in the victim’s head and then burning the corpse. A trial seems almost beside the point, a view that the writer-director Hirokazu Kore-eda goes on to dismantle with lapidary precision.
  20. Generation Wealth
    Darting from micro to macro and back again, squashing obscene consumption against child beauty pageants and ruinous debt, its structure makes for an unfocused thesis. The through line, though, works, as Ms. Greenfield repeatedly turns her camera on her own family and career choices.
  21. Far from the Tree
    At an hour and a half, the often-inspiring documentary Far From the Tree plays like a companion piece to or a preview for Andrew Solomon’s best-selling 2012 book, which, with notes, runs more than 1,000 pages.
  22. McQueen
    The filmmakers’ emphasis on drama honors the driven personality of their subject, while tracing a fairly conventional glad-rags-to-riches narrative arc.
  23. Pin Cushion
    While Pin Cushion might prove too distressing for some, it’s still peculiarly, undeniably original.
  24. Unfriended: Dark Web
    What’s striking in this movie, apart from an ostentatiously glitchy screen distortion that occurs whenever a denizen of the “dark web” appears on one of the screens within screens, is how credibly its extreme trolling plays.
  25. Mamma Mia! Here We Go Again
    Ms. Streep’s near total absence leaves a hole Cher is expected to fill. It’s too little, way too late, of course, and because it’s Cher, it’s also too much.
  26. Blindspotting
    This movie, which was written by Mr. Diggs and Mr. Casal, has an energetic-to-the-point-of-boisterous style. Its lively frequency is embedded in the writing, bolstered by Carlos López Estrada’s direction, and kept buoyant by the performers. This particular aspect of the film makes it exciting to watch, but can also be confounding.
  27. Zoe
    In Zoe, the characters, all in their 30s at least (except for the robots, I know, but bear with me), still believe that 100-percent glitch-free everlasting love is a reasonable life goal. It’s this component, even more than the poorly realized sci-fi trappings, that finally make the movie a little insufferable.
  28. To Each, Her Own
    The movie insists on a breezy optimism that skirts glibness, then doubles down on it with a having-it-all finale that’s as ridiculous as it is nervy.
  29. Sunday's Illness
    The often-tense mother-daughter dance of recrimination and forgiveness is spectacularly acted.
  30. Dark Money
    Ms. Reed has taken on a vital story in Dark Money, which is why it’s frustrating that her storytelling isn’t better. Some introductory text or explanatory narration would have better helped historically ground viewers, who need to juggle a lot of information.
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