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. In Darkness
    In Darkness moves along so smartly that near the end, when the filmmakers entreat you to follow them just a bit more, you’ll likely oblige. And why not. They’ve already gotten you to invest quite a lot in this clever little thriller.
  2. Manhunt
    It’s undeniable that Manhunt delivers first-rate cinematic technique while skimping on substantial emotional investment. It’s still a great deal of fun.
  3. Alex Strangelove
    Alex Strangelove is witty, compassionate and enjoyable throughout; a charming movie and in many respects an enlightened one.
  4. Show Dogs
    If Show Dogs sometimes betrays its shaggy charms, there is comfort in remembering that many movies are much dumber than this one, and so few of them have either the good taste or the good manners to compensate with puppies.
  5. Saving Brinton
    The trouble is that despite how earnest and committed Mr. Zahs appears to be, the story of what’s in the collection might be more be more fascinating than the man who’s collected it.
  6. First Reformed
    It is the portrait of a soul in torment, all the more powerful for being so rigorously conceived and meticulously executed.
  7. Pope Francis - A Man of His Word
    The interview sections are fascinating, and scenes of the pope’s travels, during which he frequently washes the feet of those who come to him, are moving.... Less welcome are Mr. Wenders’s brief attempts at depicting the life of St. Francis himself.
  8. The Most Unknown
    The Most Unknown works best as inspiration to delve deeper into these disciplines, and as a celebration of science. And when the film comes up short, it still functions like an intriguing experiment: It doesn’t have to be entirely successful for you to learn something.
  9. Sollers Point
    Mr. Porterfield’s evenhanded direction doesn’t try to pull the viewer’s sympathies one way or another. Within his realistic mode he crafts some startling effects — a strip-club brawl that spills out into broad, embarrassing daylight is eye-opening.
  10. That Summer
    That Summer, a new documentary directed by Goran Hugo Olsson, sheds further light on the Beales with footage shot before the making of “Grey Gardens.”
  11. Dark Crimes
    A good story gets stuck in a puddle of mood in Dark Crimes, a film that strays from its fascinating source — a real-life murder case — into a less successful attempt at noir.
  12. Book Club
    These women — Ms. Fonda, Ms. Keaton, Ms. Steenburgen and Ms. Bergen, that is — have nothing to prove. Each one brings enough credibility and charisma to Book Club to render its weaknesses largely irrelevant.
  13. On Chesil Beach
    Onscreen, On Chesil Beach loses some intensity at the end, as the supple suggestiveness of Mr. McEwan’s prose is replaced by the stagy literalness of film. Perhaps this couldn’t be avoided.
  14. Solo: A Star Wars Story
    It doesn’t take itself too seriously, but it also holds whatever irreverent, anarchic impulses it might possess in careful check.
  15. Deadpool 2
    There is something ever so slightly dishonest about this character, something false about the boundaries drawn around his sadism and his rage. Deadpool 2 dabbles in ugliness and transgression, but takes no real creative risks.
  16. Life of the Party
    The zaniness is pretty low-key, and what we witness is less the explosion of pent-up energy than the gentle affirmation of exuberant kindness.
  17. Breaking In
    With an overbearing score, Breaking In telegraphs almost everything that happens yet still provides several jolts amid its occasionally questionable twists. While the filmmakers aren’t exerting themselves to deliver anything other than a popcorn-seller, Ms. Union is working hard to keep you watching.
  18. Mountain
    For those terrified of heights, Mountain will be a nonstop nightmare. Yet big scares are a small price for the awe-inspiring footage you’ll see. As for what you’ll hear, that takes a little explaining.
  19. Anything
    It’s easy to second-guess a scene or three in Anything. Yet this is a film that wagers you’ll put aside your doubts and open up to its gentle emotions. It’s a bit of a risk for a viewer. But I’d take it.
  20. Lu Over the Wall
    Lu sometimes feels more like a cynical plot device than a character. The problem is only amplified by the animation itself.
  21. Filmworker
    The material about Kubrick’s process is finally more interesting than the discussions about his temperament.
  22. The Escape
    Subtle and slow and wrenchingly empathetic, The Escape is about gradually realizing that the life you have may not be the one you want.
  23. I Had Nowhere to Go
    What it conveys is not so much Mr. Mekas’s experience as Mr. Gordon’s will, and his cheap sadistic hostility to the audience. It makes this film a vexed experience.
  24. Beast
    Bathed in a shadowy beauty and slippery psychological atmosphere, “Beast” soars on Ms. Buckley’s increasingly animalistic performance.
  25. Terminal
    Featuring more twists than a 1960s dance marathon, Terminal is a flashy, hyperstylized bore.
  26. The Day After
    The Day After, one of three films this prolific director brought to festivals in 2017 (another one screened in Berlin in February), is an especially elegant presentation of some of his [Mr. Hong’s] characteristic concerns.
  27. Always at The Carlyle
    Discretion may be a virtue in the upscale hospitality business, but not in documentary film. If you are going to make a movie that hints at scandal and celebrity gossip and behind-the-scenes glamour, then it’s not too much to ask that some secrets be revealed and a glass or two of juice poured.
  28. Revenge
    Revenge leaves a lurid, punchy afterimage, an impression somewhere between righteous delight and quivering revulsion. It’s both a challenge and a calling card, in which Ms. Fargeat at once exposes what’s wrong with her chosen genre and demonstrates her mastery of it.
  29. Boom for Real: The Late Teenage Years of Jean-Michel Basquiat
    While, in many respects, it is conventional in form, alternating archival footage from the late 1970s and early ’80s with newly shot interviews, the movie has a momentum (aided by an exemplary soundtrack of songs from the era) and a rare interrogatory spirit.
  30. The Seagull
    The cast is great. The play is great. But this is still a bad movie, because it has no clear or coherent idea of how to be one.
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