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. Five Seasons: The Gardens of Piet Oudolf
    "Five Seasons” is least dull when capturing the artist at his most spontaneous, showing his joy, for instance, at seeing Texas wildflowers. But the director Thomas Piper, whose credits include another documentary that deals with the High Line and a film about the artist Sol LeWitt, never finds a way to convey the excitement of his subject’s innovations.
  2. SuperFly
    The roomier scenario of this remake has the potential to yield a decent thriller, but Superfly too often prioritizes showy sequences for dubious reasons.
  3. Westwood: Punk, Icon, Activist
    There are many words that you can use to describe Ms. Westwood (born 1941), an early punk rock tastemaker and merchandizer turned global couture brand. Boring certainly is not one of them. And as the movie jumps from past to present, from street to palace, from the Sex Pistols to Queen Elizabeth II, Ms. Westwood’s claim sounds increasingly strange and borderline ridiculous.
  4. Hereditary
    The film, Mr. Aster’s debut feature, is engaging, unsettling and unpredictable, generating a mood of anxious fascination punctuated by frequent shocks and occasional nervous giggles. But I also found it a bit disappointing.
  5. Half the Picture
    The stories that Ms. Adrion elicits may be infuriatingly recognizable to women who work in many fields. But if there is a missing element in her analysis, it is the effect that sexism has on these women’s artistry, not only their livelihoods.
  6. The Workers Cup
    While it would have been easy for Mr. Sobel to unleash an angrier screed against the inequalities shown, some well-placed images tell us all we need to know about the haves and have-nots here.
  7. Hearts Beat Loud
    With its oversimplified emotions and dumbed-down depiction of the creative process, this inoffensive time-filler dissolves in the mouth like vanilla pudding.
  8. Nancy
    What’s left is a strange, sour tale that’s neither origin mystery nor journey of self-discovery, but a vexing gesture toward damage and delusion that never permits us to peek under its broken heroine’s hood.
  9. The Quest of Alain Ducasse
    The movie depicts Mr. Ducasse’s sweeping streak — he prepares food for the homeless in Brazil and concocts a deluxe restaurant at Versailles — competently if not brilliantly. A screening of the film accompanied by a tasting menu afterward, though — that would be something.
  10. En el Séptimo Día (On the Seventh Day)
    “En el Séptimo Día” pulls off the tricky feat of feeling utterly natural as it ratchets with the mechanics of drama and suspense.
  11. The Valley
    As an awareness tool, The Valley feels simple-minded. As a drama, it feels exploitative.
  12. Bernard and Huey
    Devoted Feifferites, not to mention fans of Mr. Rash and Mr. Koechner, who get to flex their muscles nicely here, will be well sated.
  13. Won't You Be My Neighbor?
    It is that emphasis — the earnest, critical attention to the public Mister Rogers and his legacy — that makes Won’t You Be My Neighbor? feel like such a gift.
  14. Hotel Artemis
    Mr. Pearce is also well-versed in staging and shooting decent action scenes, and building suspense enough to keep Hotel Artemis diverting in its overstuffed ambition. Add to that Ms. Foster’s welcome return to big-screen acting after a five-year layoff and you’ve got a movie almost worth seeing.
  15. Ocean's 8
    Its cast aside, the movie sounds and narratively unwinds like the previous installments, but without the same easy snap or visual allure.
  16. Action Point
    True, Johnny Knoxville gets power-hosed down a slide and catapulted into a barn for our amusement, but the inventive, stake-raising, borderline surrealist gags of the old “Jackass” are gone.
  17. The Kissing Booth
    As cinema either theatrical or televisual is concerned, The Kissing Booth is negligible. It is fascinating, though, as a study in the semiotics of the high school movie, especially in the ways it’s been recodified since “young adult” became a real genre.
  18. Dude
    The movie becomes more involving as it finds its focus.... Ms. Hale does an excellent job portraying a popular overachiever understandably resisting the inevitable.
  19. Ibiza
    The most interesting thing about Ibiza, not to get too highfalutin, is its positive treatment of female desire.
  20. The Tale
    Its distinctive structural style, with narration that weaves in and out of flashback, is intriguing, and strong performances, especially from Ms. Debicki and Ms. Nélisse, bolster moments of overly pat dialogue. This is a good movie, but part of me wishes I hadn’t seen it.
  21. The Doctor from India
    To seek proof is distinctly human, and, in this case, a dose of skepticism is surely healthy.
  22. Social Animals
    The lack of chemistry between the two leads is less damaging than Ms. Bennett’s inability to commit to a tone.
  23. Nossa Chape
    The movie the directors have made doesn’t have the passion that its subjects do.
  24. A Kid Like Jake
    Directed by Silas Howard from a screenplay by Daniel Pearle, who adapted his own stage play, A Kid Like Jake is humane, compassionate and strangely detached, almost to the point of inconsequentiality.
  25. Breath
    Mr. Baker does nice work with the actors — his open-faced young leads are sincere, appealing, believable — and there’s a lot to like about Breath, including its attention to natural beauty and to how surfing can become a bridge to that splendor.
  26. Upgrade
    Upgrade is an energetic, superficially slick, latter-day B-movie of the “but dumb” category. That is, it’s kind of like “RoboCop,” but dumb, and also like “Ex Machina,” but dumb.
  27. Rodin
    Signs of life are few. A desaturated palette makes Rodin as monotonous to look at as it is to endure.
  28. Adrift
    The chronological back-and-forth diffuses the dread and suspense — the feeling of desperate uncertainty implied by the title — that might have made for a more intense, more memorable yarn.
  29. American Animals
    The film, written and directed by Bart Layton, can’t quite decide what it wants to be: a slick, speedy caper; a goofball comedy; or a commentary on the state of the American soul. It’s none of those — a tame and toothless creature that is neither fish nor fowl.
  30. Future World
    Future World is a miserable, idiotic sci-fi trifle, threadbare in both the imaginative and production value categories.
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