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. Woman Walks Ahead
    It’s all ridiculously romanticized and self-serving. But the performances are so good (Mr. Greyeyes, in particular, is a miracle of intelligence and dignity) and Michael Eley’s vistas, shimmeringly shot in New Mexico, are so stunning, it feels churlish to resist.
  2. Hover
    Hover is reasonably resourceful for its first hour, during which it appears to have turned budget restrictions into an asset, keeping the focus on ideas instead of effects. The last act, though, is a total whiff — too rushed, too riddled with plot holes and too incongruously hopeful to take seriously.
  3. Ideal Home
    Ideal Home is genuinely funny, and the poignant and pithy script is aided by the chemistry between its stars, who are equally adept with comedic punch lines as they are with dramatic gut punches.
  4. Uncle Drew
    It’s not every day that you can say, “Shaquille O’Neal was the best actor in that movie.” And yet that may well be true in the case of Uncle Drew, a genuinely unusual exercise in screen comedy.
  5. Leave No Trace
    In its best moments, Leave No Trace invites you to simply be with its characters, to see and experience the world as they do. Empathy, the movie reminds you, is something that is too little asked of you either in life or in art. Both Mr. Foster’s and Ms. Harcourt McKenzie’s sensitive, tightly checked performances are critical in this regard.
  6. Three Identical Strangers
    Mr. Wardle relates that story smoothly and persuasively, but his telling sometimes provokes more questions than it answers.
  7. Custody
    Mr. Legrand is skilled in the techniques of dread and suspense, and without sensationalizing or cheapening the story, he gives this closely observed drama the tension and urgency of a thriller.
  8. Rock Rubber 45s
    Bobbito Garcia, the author, basketball maven, sneaker obsessive, D.J. and all-around culture entrepreneur, is one of the most personable documentary subjects I’ve encountered in quite some time.
  9. Winter Brothers
    Mr. Palmason’s showy technique, magnetic on its own, ultimately seems like a way of adding mystery to a story that, like Emil, is content with having no place to go.
  10. Sicario: Day of the Soldado
    Dumber, less inventive and not as pretentious as “Sicario” (released in 2015, directed by Denis Villeneuve and written by Mr. Sheridan), it both advances and retreats, expanding on the original and narrowing its scope.
  11. The King
    Wildly ambitious, thoroughly entertaining and embellished with some snaky moves, Eugene Jarecki’s documentary The King is a lot like its nominal subject, Elvis Presley.
  12. Boundaries
    Self-satisfied and too slick by half, Boundaries projects a sheen of artifice that deflects any genuine engagement with the story.
  13. Damsel
    Damsel may feel 20 minutes too long, but it fills them with attitude and cheek. Here, the frontier is not just a crucible of reinvention, but a wilderness that can make you more than a little crazy.
  14. Spiral
    Spiral is best in smaller-bore moments, showing how everyday lives are affected by prejudice.
  15. Araby
    Thanks to Mr. de Sousa’s superb performance, the movie often convincingly portrays not just the exploited condition of laborers such as Cristiano, but the nagging sadness of life itself.
  16. The Catcher Was a Spy
    Paul Rudd plays Berg with the droll, boyish charm he’s brought to dozens of other roles, but he adds a protective coating. This movie, directed by Ben Lewin from a Robert Rodat script (one adapted from Nicholas Dawidoff’s fascinating 1994 biography of Berg), relishes Berg’s compulsion to remain an enigma even to those closest to him
  17. Izzy Gets the F*ck Across Town
    Watching Izzy’s frenzied pratfalls often feels like watching a documentary of Ms. Davis — always great — running a hamster wheel that powers uninspired comic material.
  18. Marlina the Murderer in Four Acts
    Working with the cinematographer Yunus Pasolang, Ms. Surya gives “Marlina” a stark, steady, captivating look that keeps you largely engaged even when the story and your attention drift.
  19. Jurassic World: Fallen Kingdom
    “Fallen Kingdom,” directed by J. A. Bayona, is in most respects a dumber, less ambitious movie than its immediate predecessor, and also, for just that reason, a little bit more fun. Some of its high jinks have a hokey, silly, old-fashioned mad-scientist feeling to them, especially when the dinosaurs are chasing people or vice versa. Which is reasonably often.
  20. Gotti
    That the long-gestating crime drama Gotti is a dismal mess comes as no surprise. What does shock is just how multifaceted a dismal mess it is.
  21. Catching Feelings
    It is notable both for its considerable comedic flair and its detailed depiction of Johannesburg.
  22. I Am Not an Easy Man
    As it happens, this movie is an expansion of Ms. Pourriat’s 2010 short film, “Oppressed Majority,” which was a punchier, and not particularly comedic, allegory of sexual assault. That picture can be found on YouTube; I don’t think it’s good either, but it’s more genuinely thought-provoking than its expansion.
  23. Set It Up
    The expectation that a female-written, female-directed effort would yield something refreshingly different is scotched within the first few minutes.
  24. Gabriel and the Mountain
    More than a simple tribute or a fond remembrance, it is a remarkable and full-throated elegy, a work of art that is full of life.
  25. Eating Animals
    This upsetting documentary offers plenty to chew on.
  26. Straight Into a Storm
    What fascinated me most about the movie was its likely inadvertent depiction of the comfortable bubble the band and its fandom seem to have created for each other.
  27. The Yellow Birds
    Capped by a truly lovely final shot, The Yellow Birds (the title comes from a particularly cruel Army cadence) is about unseen wounds and wasted lives. The closer we get to these young men, the closer we are to wondering how many more of these stories we can bear to hear.
  28. The Year of Spectacular Men
    It is the movie’s saving grace that its family acting troupe faces the gobbledygook with openhearted silliness and sincerity.
  29. Tag
    Tag, unlike too many of its recent ilk, at least bothers to be a movie, rather than a television sketch distended to feature length. The performers don’t seem to have been shoved in front of the camera and instructed to be funny. They have to work for their laughs, and to find coherence as an ensemble.
  30. Incredibles 2
    The family that fights together remains the steadily throbbing, unbreakable heart of Incredibles 2, even when Bob and Helen swap traditional roles.
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