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. Are We Not Cats
    Are We Not Cats is a well-put-together film with a lot of striking imagery, but, as you may have already inferred, something of a specialty item.
  2. Every Day
    The director is Michael Sucsy, who is not always up to the challenges of the knotty material — we live in a world of mainstream movies with clumsy edits, but this one has more conspicuously bad cuts than most.
  3. The Lodgers
    Working with an uneven cast and an undercooked story, Mr. O’Malley hits the horror beats just fine (slam, creak, squeak) without putting a sinister spin on the assorted strange doings. For all the genre exertions, none of this feels the least bit spooky.
  4. Annihilation
    Mr. Garland likes to play with tones, mixing deadpan in with the frights, and later “Annihilation” becomes something of a head movie, swirling with cosmic and menacingly lysergic visions. He keeps the tension torqued throughout this phantasmagoric interlude, sustaining the shivery unease that is one of this movie’s deeper satisfactions.
  5. The Young Karl Marx
    The great virtue of The Young Karl Marx is its clarity, its ability to perceive the way the eddies of personal experience flow within the wider stream of history.
  6. Game Night
    The movie is a pointed reminder that Ms. McAdams is one of cinema’s most accomplished and appealing comic actresses. It’s almost heartbreaking to contemplate how amazing she would be in a new comedy that was more than intermittently O.K.
  7. Honor Up
    For all of its failings, the movie sometimes manages to bring a scary whiff of the street into its sounds and images.
  8. The Housemaid
    The result is a good-looking but overstuffed genre pileup that confuses as often as it compels.
  9. The Party
    The Party is a brittle, unfunny attempt at comedy that features some very fine actors and a lot of empty chatter.
  10. Nostalgia
    A soggy string of Hallmark moments designed to interrogate the value of the objects we cherish, the movie is front-loaded with major stars and squelching with sentiment.
  11. Western
    Western is as precise as a dropped pin on a GPS map, which makes its sense of mystery all the more powerful.
  12. The Boy Downstairs
    How, and in whose apartment, Diana and Ben will confess their emotions is the subject of Ms. Brooks’s pallid dramedy, which leaves its actors looking somewhat stranded, as if waiting for Neil Simon zingers that were never written.
  13. Early Man
    The genius of Early Man is that it cannot possibly be spoiled. The animation is foolproof in its combination of ingenuity and obviousness, and the script obliterates the difference between a laugher and a groaner.
  14. Tehran Taboo
    Subtlety and aesthetic elegance — the jerky animation complements the blunt tone — are not among the film’s virtues. Tehran Taboo aims to expose systemic hypocrisy; in that respect, it is brisk and bracing.
  15. Double Lover
    Double Lover, which Mr. Ozon “freely adapted” from the Joyce Carol Oates book “Lives of the Twins,” spins its influences into a frenzy that ultimately reveals the story to be very much its own thing. And a crazy, and eventually strangely moving, thing it is. As elaborate as its visuals are, the movie is also intimate.
  16. Golden Exits
    Mr. Perry is such a good filmmaker that he can make the embarrassing and the unbearable insistently, fascinatingly engrossing (and often funny).
  17. Fifty Shades Freed
    As popular as this window-fogging franchise has become, its flaccid finale is likely critic proof. But if I can persuade just one of you to bypass its milquetoast masochism and watch the stratospherically superior “9 1/2 Weeks” instead, then I will have done my job.
  18. The Female Brain
    With tender performances and dubious conclusions, this story is best appreciated as an explanation for why people seek out the false comfort of gendered pseudoscience. But by fitting characters into formulas, The Female Brain fails to observe the flexibility of human experience.
  19. Entanglement
    Impressively photographed and perkily paced, Jason Filiatrault’s story never droops quite as much as its lead character, injecting a welcome poignancy that tempers the cuteness.
  20. Becks
    Perhaps recognizing their biggest asset, the directors, Elizabeth Rohrbaugh and Daniel Powell, allow Ms. Hall’s numbers to play out at length... If the screenplay perhaps backs itself into a corner, its irresolution feels true to life.
  21. Permission
    If unwise remarks at a dinner can cast a pall over a longstanding relationship, then a great ending can redeem and even force reconsideration of an otherwise middling film.
  22. Peter Rabbit
    Its story line is clean; the live-action actors, particularly Rose Byrne (as Bea, an artist who paints portraits of the bunnies), bring their onscreen-appeal A game; and the computer-generated animals are charming, albeit lacking in the particular gentle winsomeness of Potter’s originals.
  23. Seeing Allred
    A documentary that’s remarkably engaging despite treating its rough-and-tumble hero with kid gloves.
  24. The Peacemaker
    The movie is a fascinating portrait that is if anything too brief.
  25. The 15:17 to Paris
    Mr. Eastwood, who has long favored a lean, functional directing style, practices an economy here that makes some of his earlier movies look positively baroque. He almost seems to be testing the limits of minimalism, seeing how much artifice he can strip away and still achieve some kind of dramatic impact.
  26. Black Panther
    It wouldn’t be a Marvel production without manly skirmishes and digital avatars. Yet in its emphasis on black imagination, creation and liberation, the movie becomes an emblem of a past that was denied and a future that feels very present. And in doing so opens up its world, and yours, beautifully.
  27. The Cloverfield Paradox
    The actual movie is strangely plain, eyesore-overlit and uselessly frantic.
  28. Winchester
    Despite the typically elevating presence of Helen Mirren, this super-silly feature (the fifth from the Australian brothers Peter and Michael Spierig) stubbornly resists being classed up.
  29. 24 Frames
    24 Frames can’t help but be affecting because it is Kiarostami’s final movie. But it’s intellectually uninvolving, and its technical limitations prove frustrating.
  30. Legend of the Mountain (1979)
    All these attractions are a necessary balm given that Ho turns out to be a deeply uninvolving character (Mr. Shih mostly smiles, grimaces or looks amazed), a wan placeholder for a character in a narratively thin film that runs over three very leisurely hours.
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