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. Goodbye Christopher Robin
    Erratically paced and with a pitch-black heart, the movie manipulates at every turn.
  2. Bending the Arc
    The men refused to be deterred by institutional rigidity, political apathy or a skeptical scientific community. Their perseverance is cheering, giving the movie a brightly buoyant tone that belies the suffering at its center and renders the sometimes distracting musical score largely unnecessary.
  3. The Florida Project
    This movie accomplishes something almost miraculous — two things, actually. It casts a spell and tells the truth.
  4. So B. It
    So B. It aims for an inclusive message. But Mama’s artificiality makes it hard to buy the movie’s themes of acceptance.
  5. Walking Out
    Even when its plot starts to sag, Walking Out remains beautiful to watch.
  6. Paradise
    Paradise is a strikingly shot Holocaust drama that ultimately seems confused about whose story it’s telling or to what end.
  7. Brawl in Cell Block 99
    For one thing, the buildup is so grippingly patient that we’re more than halfway through before the titular battleground is reached. And for another, this painstakingly paced thriller displays an intensity of purpose that makes it impossible to dismiss as well-executed trash.
  8. Dina
    The filmmakers might have cleared up suspicions about their motivations and ethics had they worked them into the narrative.
  9. The Osiris Child
    Given the audacity, gusto and hell-for-leather filmmaking on display, the prospect of subsequent installments does not seem unreasonable.
  10. The Mountain Between Us
    Caught between the harsh demands of a survival story and the emotional beats of a romantic drama, the director, Hany Abu-Assad, grabs hold of neither.
  11. Overdrive
    Overdrive has all the features of a potentially entertaining action B-movie for overgrown boys: gorgeous near-mint vintage cars, rugged male performers, seductive female performers, ravishing European locations. What it doesn’t have is a lot of cinematic adrenaline.
  12. Take Every Wave: The Life of Laird Hamilton
    The documentary stirs up most of its sporadic excitement in the surfing footage, of which there is plenty. The imagery, especially the aerial shots, gives a sense of Mr. Hamilton’s precision and how close he comes to wiping out.
  13. The Death and Life of Marsha P. Johnson
    There are several strong stories in The Death and Life of Marsha P. Johnson, a documentary that, in trying to tell them all, takes on too much.
  14. Una
    The scenes that leave Ms. Mara and Mr. Mendelsohn alone are, tellingly, the most interesting and effective ones. Their performances are tightly focused and unflinching; too bad they are surrounded by a lot of heavy-handed, poorly aimed cinematic showing off.
  15. Faces Places
    Faces Places reveals itself as a powerful, complex and radical work.
  16. Chavela
    Those looking to learn the basic outlines of the life of the singer Chavela Vargas could do worse than watch Chavela, but this plodding documentary from Catherine Gund and Daresha Kyi rarely transcends simple biography
  17. Blade Runner 2049
    Mr. Villeneuve’s film, by contrast, is a carefully engineered narrative puzzle, and its power dissipates as the pieces snap into place. As sumptuous and surprising as it is from one scene to the next, it lacks the creative excess, the intriguing opacity and the haunting residue of its predecessor.
  18. Flatliners
    Mr. Schumacher’s movie is more a failed tone poem than a horror picture, and to its credit, this new version, with a trickier script by Ben Ripley and hyper-competent direction from the Swedish filmmaker Niels Arden Oplev improves on it — by making it behave like a horror movie every now and then.
  19. American Made
    Mr. Cruise’s brisk, ingratiating performance — all smiles, hard-charging physicality and beads of sweat — does a lot to soften the edges. But Mr. Liman doesn’t press Mr. Cruise to dig into the character, and the actor mostly hurdles forward in a movie that never gets around to asking what makes Barry run and why.
  20. Pearl Jam: Let's Play Two
    It shares a side of Mr. Vedder his fans will enjoy: the baseball aficionado who fills out a scorecard and treats Wrigley sod as holy ground.
  21. Mark Felt: The Man Who Brought Down the White House
    “Mark Felt” is a sharp portrait set against a blurry background, a history lesson that won’t help you on the test. It is possible to savor the crags and shadows of Mr. Neeson’s performance without quite grasping why Mr. Landesman thinks the story is worthy of such somber, serious and sustained attention.
  22. The Untold Tales of Armistead Maupin
    The film offers an enlightening glimpse into how the gay experience informed Mr. Maupin’s art.
  23. Abundant Acreage Available
    What some may see as an examination of loss and legacy, others will view as a portrait of psychological coercion: overbearing men riding roughshod over the wishes of a grieving woman.
  24. Lucky
    The accumulation of spot-on performances and long-familiar faces, small-town routines and dusty-worn locations, finally coalesces into a picture that’s greater than the sum of its oft-clichéd parts.
  25. Blood Stripe
    While this worthy film sidesteps clichés — there are no horrid flashbacks or emotional speeches — its spareness occasionally feels planned rather than spontaneous. After a powerful first half, later scenes offer diminishing returns.
  26. Autumn, Autumn
    Though disappointment and loneliness guide its conversations, the movie isn’t bleak; it’s a touching and tender commentary on the need to be seen and the desire to be heard.
  27. Realive
    Like a “Black Mirror” episode combined with a philosophy seminar, Realive has plenty of brains. Yet it has a heart, too, and that adds a surprising amount of emotion to this above-average science-fiction film.
  28. Literally, Right Before Aaron
    The problem here is Mr. Long’s Adam, a twitchy knot of tics and self-pity. He invites our sympathy — especially when contrasted with the smarmy Aaron — but doesn’t really deserve it.
  29. Super Dark Times
    The performances from the film’s young cast members are uniformly excellent, including Owen Campbell as Zach and Charlie Tahan as Josh. But the direction from Mr. Phillips is what makes Super Dark Times unusual.
  30. Different Flowers
    Several scenes have a warm, rosy tinge to them, even during the sisters’ meanest blowups, as if to assure the audience that, for these two, there will always be a reconciliation.
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