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. Milford Graves Full Mantis
    You can get a lot of facts about Mr. Graves and his discography on the internet (and I recommend you do). This movie gives you, well, the man’s heart, and it’s a beautiful one.
  2. The Other Side of Everything
    Engrossing despite its daunting scope and tangled politics, The Other Side of Everything offers an uncommon opportunity to view the shifting borders and identities of an entire region through the eyes of the Eastern European intellectuals caught in the turmoil.
  3. Don't Worry, He Won't Get Far on Foot
    Self-pitying or smug, jaunty or crestfallen, callous or contrite, the movie’s fitful tone is fully yoked to Joaquin Phoenix’s sodden-to-sober lead performance.
  4. The Devil's Doorway
    This smart but uneven horror movie has little interest in fun.
  5. Path of Blood
    Watching Path of Blood is frequently a queasy experience, and given the bewildering array of names and complications, not always an illuminating one. But it commands attention as an object lesson in the banality of evil.
  6. The Night Eats the World
    The makeup design and chase scenes are rote, and the little dramatic conflict — arguments over where to hide — traffic in the oldest clichés in the genre.
    • 34 Metascore
    • 30 Critic Score
    Siberia
    [A] leaden thriller.
  8. Shock and Awe
    At a time when the current president routinely dismisses the accuracy of reporting, Shock and Awe feels more timely than it might have. It also captures an aspect of journalism not often portrayed: the fear of being wrong when the conclusions of your reporting break from those of your competitors.
  9. What Will People Say
    In a resolute acknowledgment of the oppression that too many young women face at home, the film portrays the family structure as the enforcing unit of feminine docility. Here, love is another form of bondage.
  10. Hotel Transylvania 3: Summer Vacation
    The scenes of Dracula befuddled by a mobile phone were familiar; those in which the vampire’s garlic “intolerance” preludes a flatulence joke predictable. Returning a third time as director, Genndy Tartakovsky lends his usual graphic savvy, providing a not-quite-saving grace.
  11. Eighth Grade
    Eighth Grade is a simple story of an unremarkable girl, tenderly and movingly told.
  12. Skyscraper
    There are intermittent pleasures, including Ms. Campbell, who seems ready to transition to a new career phase playing hard-hitting maternal types with Mona Lisa smiles. Mostly, though, Skyscraper is about the movie’s other, far more towering figure: Mr. Johnson, a performer whose colossal physicality is strikingly complemented by a delicate expressivity too rarely seen in contemporary blockbusters.
  13. Gauguin: Voyage to Tahiti
    Content to be yet another great-man biopic, the movie would rather sanitize than probe.
  14. Constructing Albert
    Sibling rivalry is a consistent subtext but only that — Mr. Adrià’s main concern is to create. As it happens, in this generally likable film he is at his most endearing when fixing himself a simple (but indeed delicious looking) grilled ham and cheese sandwich.
  15. Moss
    With its gently twanging score, Moss is a film made in a minor key and its pleasures are minor, too. It passes like a lazy afternoon spent gently high. There’s not much this movie wants to accomplish, but it maintains a mood that sets the mind at ease.
  16. The Citizen
    The film, directed by Roland Vranik from a script by Mr. Vranik and Ivan Szabo, is a careful, compassionate and beautifully acted character drama with a social conscience.
  17. Whitney
    Whitney is too funereal to be a party, too sad, strange and dismaying to cheer. Yet, in its grim, guilt-inducing way, the film works, even on the occasions when it’s working against itself.
  18. Bleeding Steel
    This consistently ridiculous movie, written and directed by Leo Zhang, does offer Jackie Chan mixing it up at a magician’s rehearsal (he pulls a rabbit from a hat) and Jackie Chan kickboxing at the top of the Sydney Opera House.
  19. Ryuichi Sakamoto: Coda
    The creative process is notoriously difficult to capture on camera, but by the end of this documentary, you will feel as if you not only understand Mr. Sakamoto intellectually, but also share a sense of the excitement he feels when discovering just the right match of sounds.
  20. A Skin So Soft
    Their narcissism is repellent yet riveting, and Mr. Côté comes at his subjects with an artful, exploratory obliqueness that’s endearingly curious, as if discovering a whole new species.
  21. Under the Tree
    Maintaining an unrelentingly gleeful grip on the film’s tone, Mr. Sigurdsson skillfully whips absurdist comedy and chilling tragedy into a froth of surging hostilities.
  22. Ant-Man and the Wasp
    It’s funny how little things, like personality, can lift a movie. Ant-Man and the Wasp features kinetic action sequences, but what makes it zing is that Mr. Reed has figured out how to sustain the movie’s intimacy and its playfulness, even when bodies and cars go flying.
  23. Fireworks
    The unrealized potential makes the rote line style and stagnant backdrops seem all the blander.
  24. The First Purge
    Even the most ardent fan could find its bluntness uncomfortably timely: In our build-that-wall moment, a story about a government-sponsored plan to cull poor minorities feels less like political satire than current-affairs commentary.
  25. Sorry to Bother You
    Mr. Riley isn’t constructing yet another postmodern playhouse out of borrowings and allusions. He’s building a raft, and steering it straight into the foaming rapids of racism, economic injustice and cultural conflict.
  26. Recovery Boys
    Watching the men as they work, attend 12-step meetings and struggle to repair frayed familial bonds, she unearths moments of raw revelation that quietly highlight our shameful lack of effective help.
  27. Dark River
    Gorgeously photographed by the Brazilian cinematographer Adriano Goldman, Dark River is a raw ballad of doom and damage.
  28. The Cakemaker
    Sad and sweet, and with a rare lyricism, The Cakemaker believes in a love that neither nationality, sexual orientation nor religious belief can deter.
  29. This Is Congo
    There is much to admire here, but the sheer scope of the subject matter might be even better served by the capaciousness of a mini-series.
  30. Love, Cecil
    The quirks of Beaton’s personality — his cultivation of enemies and frustrated romanticism, among them — are finally not as interesting as his work.
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