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. Ready Player One
    Mr. Spielberg, a digital enthusiast and an old-school cineaste, goes further than most filmmakers in exploring the aesthetic possibilities of a form that is frequently dismissed and misunderstood.
  2. Midnight Sun
    Under the limp direction of Scott Speer, Midnight Sun suffocates its sentimental script, portraying passion without wonder, sacrifice without ecstasy.
  3. Game Over, Man!
    This almost laugh-free comedy, a Netflix Original directed by Kyle Newacheck, is distinguished by a relentless level of outrageous yet strangely listless vulgarity.
  4. Sherlock Gnomes
    Sherlock Gnomes offers more variety than its predecessor. Although still laced with glib pop culture references (wow, a skinny latte) and scored with Elton John tunes in a way that plays like a concession to adults, it has occasional fun ideas, such as rendering the inner workings of Holmes’s mind in hand-drawn black and white.
  5. Summer in the Forest
    Summer in the Forest is an extraordinarily tender documentary that asks what it means to be human. Here, even the most gentle scenes raise mighty questions.
    • 74 Metascore
    • 90 Critic Score
    The Workshop
    It’s a measure of this film’s stealthy brilliance that it blurs the line between empathy and exploitation.
  7. A Bag of Marbles
    Despite the hardships endured by the characters, nearly every shot seems dappled with nostalgia. The music score is sentimental, with shimmering pianos and trembling strings. But the writing and its attendant characterizations have an undeniable integrity, the particular historical detail offered by the story is not common in films about this era, and the lead performers are moving.
  8. Back to Burgundy
    Mr. Klapisch lingers his camera lovingly over shots of grapes being harvested and stomped, all the while employing story mechanics and flashbacks indelicate enough to suggest the churn of a factory juicer.
  9. What We Started
    What We Started appears to have been conceived with contradictory audiences in mind. On one hand, it tries to present an accessible history of electronic music, starting with its outgrowth from disco, house and techno and continuing through its commercialization and fusion with pop. On the other hand, a subcultural cliquishness creeps into the movie.
  10. Ismael's Ghosts
    As is customary in Mr. Desplechin’s work, there’s a lot of dialogue in Ismael’s Ghosts, but this movie’s nerve endings vibrate most avidly and tenderly in scenes where not a word is spoken.
  11. I Kill Giants
    Magical, subtle, sensitive and touching, I Kill Giants is everything the bombastic “A Wrinkle in Time” is not.
  12. Final Portrait
    Now and then, brisk restaurant visits and slow strolls through a cemetery (an unnecessary foreshadowing, given the movie’s title) ventilate the film, but Final Portrait (adapted from Lord’s 1965 book, “A Giacometti Portrait”) is pretty thin on drama.
  13. Unsane
    Mr. Soderbergh’s quick-and-dirty approach works here better as a conceptual gambit than as an entertainment. What keeps you watching even as the story becomes more off-putting are the actors and Mr. Soderbergh’s filmmaking.
  14. Roxanne Roxanne
    What distinguishes Roxanne Roxanne, a sensitively observed new movie with a dynamite performance by Chanté Adams, is that it marries a traditional hip-hop biopic, a form long dominated by male rappers, with a more idiosyncratic and deeply felt slice of life.
  15. Beauty and the Dogs
    The filmmaking is so striking — and Ms. Al Ferjani so movingly, indefatigably resolute — it’s impossible not to persevere right along with her.
  16. Isle of Dogs
    Time and again, Mr. Anderson pulls you hard into Isle of Dogs. His use of film space, which he playfully flattens and deepens, is one of his stylistic signatures; he likes symmetry and, in contrast to most directors these days, does a lot inside the frame. He’s especially inventive in this movie, and I could watch hours of its noble dogs hanging out, sniffing the air.
  17. Pacific Rim: Uprising
    The movie balances amiable humor and standard believe-in-yourself bromides with better than average action sequences.
  18. Mountain
    The film is limited by its central metaphor, but it is never less than absorbing or original.
  19. Love, Simon
    The emotional resonance may be surprising given the movie’s relentless gloss, but it’s real. The spectacularly charming cast, led by the young Nick Robinson in the title role (who brings a knowing touch of 1980s Matthew Broderick to some of his line readings), puts it all across, including a genuinely crowd-pleasing ending.
  20. Keep the Change
    Keep the Change is not a seamlessly crafted movie, but it’s awfully tenderhearted and thoroughly disarming. It deserves to be widely seen.
  21. Tomb Raider
    There are many ways for a movie to go wrong, and Tomb Raider goes wrong in many of the most obvious: It has a generic story, bad writing, a miscast lead, the wrong director and no fun.
  22. 12 Days
    [A] lucid, focused and adamant documentary.
  23. Dear Dictator
    Simultaneously preposterous and dull, Dear Dictator is the kind of movie where music and wardrobe choices — like the mean girls’ stridently visible underwear — substitute for character.
  24. No Light and No Land Anywhere
    In the scenes that break with banality, there is a zing not only of originality, but of daring.
  25. Ramen Heads
    Over-narrated and self-serious, this documentary allows its good intentions to pave the way to a tepid tale.
  26. Journey's End
    Early screen depictions of World War I, like “The Big Parade” and “All Quiet on the Western Front,” show more passion and visual invention. A rattling sound design and the cinematographer Laurie Rose’s excellent use of low light aren’t enough to make the experience immediate.
  27. Allure
    The filmmakers seem less concerned with telling a story than in convincing the audience (and maybe themselves) that they can handle this provocative and potentially exploitive material they’ve contrived with what’s conventionally considered “appropriate” sensitivity.
  28. Our Blood Is Wine
    Though the movie’s loose, sampling style can leave regions and varieties poorly differentiated, its real stars are the vintners. Young or old, entrepreneur or family-only producer, all are passionate and poetic about their beloved beverage.
  29. Flower
    Cruelly amoral and only marginally credible, Flower is nevertheless wildly entertaining and at times even touching.
  30. Us and Them
    With frothing energy and unfettered vulgarity, Us and Them lances the boil of working-class grievance and watches as the infection spreads to everyone in its path.
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