The New York Times' Scores

Select another publication »
For 20,269 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 20269
  2. Mixed: 8,428 out of 20269
  3. Negative: 2,464 out of 20269
20269 movie reviews
view
per page
  1. Dim the Fluorescents
    Mr. Warth, who wrote the screenplay with Miles Barstead, creates a flawed tale of female friendship and the artist’s everlasting struggle. Unfortunately, Dim the Fluorescents can’t keep its story together.
  2. The Commuter
    It’s not even very good as a genre exercise, and can’t always keep track of which genre muscles it wants to flex. For a while it’s a locked-room mystery. Then it’s a runaway-train thriller.
  3. My Art
    My Art invests far too much in the conceit. (The re-creations look like unfunny “Airplane!” parodies.) Part of the problem is that Ms. Simmons has surrounded herself with more interesting actors, including a scene-stealing Parker Posey.
  4. Saturday Church
    It is a disarmingly and consistently sensitive movie that remains engaging even when its reach sometimes exceeds its grasp.
  5. Freak Show
    Mr. Lawther is sympathetic and appealing as Billy, but Ms. Styler seems to mistake broad strokes for stylistic daring, and her colorful but diffuse movie never jells.
  6. Bitter Money
    It’s not clear that the director quite found what he was looking for.
  7. Humor Me
    The movie never gets too deep, which is half of its charm. The other half involves the low-key comic performances by a stellar cast including Annie Potts and Bebe Neuwirth.
  8. Abe & Phil's Last Poker Game
    The medical tidbits, however awkwardly presented, are the most distinctive aspects of the script. The flat direction, alas, is not the work of a filmmaker.
  9. Acts of Violence
    This dopey action thriller harks back to grindhouse pictures of the ’70s and ’80s, although it’s too tasteful, if that’s the word, to consistently exploit the more lurid implications of its sensationalist scenario.
  10. Lover for a Day
    There are times when the characters — and their director — surprise and genuinely delight.
  11. Vazante
    By the end, it’s hard not to wish that Ms. Thomas had traded a bit of her art-film drift for something more direct.
  12. The Insult
    There is something undeniably exhilarating about the film’s honest assessment of the never-ending conflict between decency and cruelty that rages in every nation, neighborhood and heart.
  13. Paddington 2
    Mr. King and his excellent team of actors and animators spin good writing and seamless digital effects into Rococo children’s entertainment. The gags don’t accumulate; they tessellate.
  14. Dark Meridian
    Chases, shootouts and showy camera moves are executed deftly enough, but given the frugal trappings, they play as overambitious — an attempt to make a storage tank of lemonade from one lemon.
  15. Devil's Gate
    It’s not good, but it could pass muster among midnight-movie enthusiasts or curious stoners.
  16. Django
    The finale enlivens an otherwise staid biopic, but whether the film has earned a moment of uplift is unclear.
  17. The Green Fog
    As a chronicle of how San Francisco has changed over the years — and as a salute to the city’s role as a back lot for masters like Erich von Stroheim and Howard Hawks — The Green Fog is a wonder of excavation and urban history. What it says about Hitchcock is more ambiguous.
  18. In the Land of Pomegranates
    A tough and cleareyed look at how things are, rather than how we want them to be.
  19. Blame
    Blame is earnest but underdeveloped. At the same time, it’s overdetermined and often overplayed.
  20. In Between
    In Between, Ms. Hamoud’s debut feature, is an unusually welcoming and engaging film, inviting you to become a part of the circle of friends it depicts with such energy and warmth. For that reason, it can also be frustrating.
  21. Anatomy of a Male Ballet Dancer
    In retrospect, the sheer amount of gush in the movie, all the praise and feverish shouts of bravo, underscores the limits of affirmational documentaries. It is also a reminder that a movie’s meaning is made (and remade) by its viewers, not just its content.
  22. Film Stars Don't Die in Liverpool
    Landing lightly on the loneliness of fame and the ravages of aging, Film Stars Don’t Die in Liverpool is a fond farewell to a distinctive talent. Yet I couldn’t help wishing it had spent less time anticipating Grahame’s death and a little more illuminating her life.
  23. In the Fade
    The ending is puzzling, when it wants to be devastating, and the political and personal sides of the story, rather than illuminating each other, fight to a stalemate. Ms. Kruger, however, who won the best actress award at Cannes in May, leaves a vivid, haunting impression.
  24. Phantom Thread
    On first viewing, the captivating strangeness of the mood and the elegant threading of the plot are likely to hold your attention, but later you can go back to savor the lustrous colors, the fine-grained performances and the romantic mystery that holds the whole thing together.
  25. All the Money in the World
    All the Money in the World revs up beautifully, first as a thriller. But while the kidnapping is the movie’s main event, it is only part of a story that is, by turns, a sordid, desperate and anguished tragedy about money.
  26. Molly's Game
    It is hard not to wonder how this movie might have turned out if Mr. Sorkin had decided his protagonist was as much a weasel as the one he wrote for “The Social Network,” another story of an American striver. It’s hard not to wonder, too, how this story might play if its protagonist wasn’t a woman who, as this movie sees it, needed so much male defending.
  27. Father Figures
    Distinguished mainly by its overqualified cast and lack of inspiration, Father Figures can’t decide whether it’s a gross-out comedy or an uplifting tale of brotherly love; it embraces the worst of both worlds.
  28. A German Life
    A German Life is likely to be the last new movie of its kind: a documentary that presents contemporary testimony from someone who witnessed the inner workings of the Nazi high command.
  29. Along With the Gods: The Two Worlds
    Story clarity and emotional depth tend to evaporate amid the visual pyrotechnics.
  30. Crooked House
    The superb cast provides mild pleasures, as do some aspects of the elaborate mystery itself. And that’s all, folks.
Page:

Top Trailers

See all »
See all trailers »