The New York Times' Scores

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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
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  1. The Disaster Artist
    It’s a divertingly funny movie, but its breeziness can also feel overstated, at times glib and a bit of a dodge.
  2. Big Time
    Clearly, the architect and the filmmaker are tight, which does not entirely benefit Big Time.
  3. Rosa Chumbe
    The women’s missteps seem to come straight out of a cautionary morality play. And the movie’s dismal outlook even extends to the dimly-lit cinematography. It doesn’t need a miracle to see the light. It needs a full pardon.
  4. Sins of the Flesh
    No doubt subtleties have been lost in translation, but the film is best viewed as an overripe, noir-tinged tragedy.
  5. 32 Pills: My Sister's Suicide
    The more Hope’s own obsession grows, the more involving the movie gets, even as it raises ethical questions about its making — and about those who continue to watch.
  6. The New Radical
    It’s possible to fully, and vehemently, disagree with Mr. Wilson and Mr. Taaki yet still see their points. That can make The New Radical unsettling. It also makes it a film worth watching.
  7. The Dancer
    This movie, which stars Stéphanie Sokolinski, the French musician known as Soko, in the role of Fuller, only comes alive during the dance sequences.
  8. Voyeur
    Choosing not to delve too deeply into the mind of either man — or to question Mr. Talese’s journalistic ethics and less-than-scrupulous fact-checking — the directors are content to mostly watch as each vies for control of the movie, and his legacy. It’s an entertainingly desperate joust, playing out beneath defiantly unattractive lighting.
  9. The Shape of Water
    The Shape of Water is partly a code-scrambled fairy tale, partly a genetically modified monster movie, and altogether wonderful.
  10. Love Beats Rhymes
    The script by Nicole Jefferson Asher toggles between sharp observations about wordcraft and some “Dynasty”- or Tyler Perry-level soap operatics. RZA’s direction lacks visual personality, but he keeps the narrative moving and elicits strong performances from his cast.
  11. The Tribes of Palos Verdes
    The Malloys’ filmmaking never rises to the level of the actors’ nuanced performances. The actors are energized, but the camera enervates.
  12. Shadowman
    This intense documentary shows a driven creator walking the walk, so to speak, in the most perverse fashion possible. The story is both repellent and strangely inspiring.
  13. The Other Side of Hope
    The deadpan style of the acting functions as a vaccine against sentimentality, but there is no doubting the sincerity of this movie’s motives or the effectiveness of its methods.
  14. Wonder Wheel
    Wonder Wheel, Woody Allen’s latest movie, is one of his more unfortunate contributions to cinema.
  15. Loveless
    With its fastidious framing and angry-tough temperament, Loveless...earns its air of careful foreboding.
  16. AL DI QUA
    However worthy or political its intent, Al Di Qua is too overwrought to seem anything but trivializing.
  17. Naples '44
    It seems less a full-fledged movie than a trailer for a book.
  18. Eric Clapton: A Life in 12 Bars
    As a musical biography, this comes up short; it plays substantially better as a story of recovery and recovered integrity.
  19. Cuba and the Cameraman
    In part because of its political blind spots, Cuba and the Cameraman is captivating. (Whatever you think of Mr. Alpert’s perspective, it’s interesting.) But it’s mostly worth watching because of human stories like these.
  20. Bombshell: The Hedy Lamarr Story
    Ms. Dean relates Lamarr’s ventures, those onscreen and off, with savvy and narrative snap, fluidly marshaling a mix of original interviews and archival material that includes film clips, home movies and other footage.
  21. Call Me by Your Name
    Call Me by Your Name is less a coming-of-age story, a tale of innocence and loss, than one about coming into sensibility. In that way, it is about the creation of a new man who, the story suggests, is liberated by pleasure that doesn’t necessarily establish sexual identity.
  22. Brimstone & Glory
    The film, accompanied by a percussive score from Benh Zeitlin and Dan Romer (both wrote the music for “Beasts of the Southern Wild,” which Mr. Zeitlin directed), has a wandering attention span and grows monotonous even at barely more than one hour.
  23. Darkest Hour
    Churchill’s resolve, like the bravery of the soldiers, airmen and ordinary Britons in “Dunkirk,” is offered not as a rebuke to the current generation, but rather as a sop, an easy and complacent fantasy of Imperial gumption and national unity.
  24. Mr. Roosevelt
    Ms. Wells is appealing onscreen and is a smart writer. She gives Emily some good zingers.
  25. The Man Who Invented Christmas
    Brightly lit and anchored by Mr. Stevens’s infectious, live-wire performance, the film, directed by Bharat Nalluri (“Miss Pettigrew Lives for a Day”), nevertheless proceeds like a television holiday special, designed to distract children while winking at their parents.
  26. Coco
    If Coco doesn’t quite reach the highest level of Pixar masterpieces, it plays a time-tested tune with captivating originality and flair, and with roving, playful pop-culture erudition.
  27. Porto
    This first narrative feature from Gabe Klinger seduces with breathtakingly gorgeous visuals that feel both achingly nostalgic and elegantly modern. These often ravishing aesthetics and stylistic quirks act as soft restraints, keeping us watching despite a near-total absence of story and a thinly disguised attitude of male entitlement.
  28. Big Sonia
    Sonia is a powerful subject, but Big Sonia brings little perspective to her story.
  29. The Breadwinner
    In its alternating of Parvana’s day-to-day struggle with the tale she tells herself, the movie doesn’t promote bromides about stories and storytelling transcending reality. Rather, it demonstrates that the way imagination refracts reality can provide not only solace but also real-world strategy.
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