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. Clive Davis: The Soundtrack of Our Lives
    Chris Perkel’s reverent documentary Clive Davis: The Soundtrack of Our Lives is a valedictory for Mr. Davis.
  2. I Am Another You
    Ms. Wang delves further into Dylan’s past. If by the end she probably still puts too much trust in Dylan’s aphorisms, give her credit for recognizing the shortcomings of her footage and correcting course.
  3. Our Souls at Night
    Part of the pleasure of this film, directed by Ritesh Batra (“The Lunchbox”), lies in the rediscovery of what wonderful actors they can be, and how good they are together.
  4. Bugs
    Bugs, an entertaining and eye-opening documentary from Andreas Johnsen, will send moviegoers out with a feeling of culinary adventurousness, eager to sample well-prepared escamoles (ant larvae) or termite queen with mango.
  5. Bobbi Jene
    Enigmatic to an extreme, the documentary Bobbi Jene may interest viewers who are well versed in contemporary dance. All others are on their own.
  6. Unrest
    It powerfully insists on giving a voice to victims whose greatest challenge, apart from their symptoms, is surmounting a world of indifference.
  7. The Force
    The movie may offer an incriminatory catalog of organizational failure, but it also repeatedly shows people trying to make the system work.
  8. Battle of the Sexes
    A glib, enjoyable fictionalization of the 1973 exhibition tennis match between Billie Jean King and Bobby Riggs.
  9. Hissein Habre, A Chadian Tragedy
    It’s more of a document than a documentary; calling it cinema seems like an error of categorization.
  10. Victoria and Abdul
    In the shift from comedy to drama the movie goes wobbly.
  11. The King's Choice
    The King’s Choice maintains a sense of intrigue when it sticks to the king’s dealings with the government, but the movie drags when it moves outside of back rooms and deviates from setting up the Bräuer-Haakon showdown.
  12. Loving Vincent
    As the story limps and drags, the viewer also becomes accustomed to the images, and astonishment at the film’s innovative, painstaking technique begins to fade. But its charm never quite wears off, for reasons summed up in the title.
  13. Stronger
    Stronger takes more artistic risks than any other American-made “inspired by true events” picture I can recall.
  14. Hong Kong Trilogy: Preschooled Preoccupied Preposterous
    More of a poem or a city symphony than a documentary, it drifts freely, sometimes frustratingly between captured and fictionalized moments.
  15. Gaga: Five Foot Two
    While it’s possible that the director and cinematographer Chris Moukarbel is good at withholding unflattering material, Gaga comes off well, and credibly so: intelligent, an accomplished craftswoman, a well-mannered collaborator and boss.
  16. The Tiger Hunter
    With a likable cast and a wholesome message about the true meaning of success, The Tiger Hunter might balk at the harsher details of immigrant life, but it has a generosity of spirit that lifts everyone up.
  17. Thirst Street
    Thematically shallow but stylistically rich, Thirst Street is best enjoyed with a hint of its heroine’s willfully superficial vision.
  18. Woodshock
    Unlike their spring 2018 fashion collection, Kate and Laura Mulleavy’s first foray into moviemaking, “Woodshock,” is depressingly dull and terminally inarticulate.
  19. Kingsman: The Golden Circle
    In a movie as happy to resurrect characters as rub them out, nothing is of consequence, and the glibness grows numbing.
  20. The LEGO Ninjago Movie
    The Lego figures are rendered with playful rigor; their limited movements and expressions generate some amusing sight gags. But the physical world they inhabit is more of a generic digital-cartoon space than a snapped-together environment. And the themes they explore are tired, cynical, sub-Disney bromides about family reconciliation and self-discovery.
  21. Alina
    Although the internet and cellphones exist in the movie, there’s a dated quality to the premise.
  22. Woodpeckers
    The lean handsomeness and quiet authority of Mr. Jean is a perfect complement to Ms. Rodríguez’s passionate Yanelly, while the locations — and the presence of actual inmates — underscore the harsh boundaries the lovers struggle against.
  23. The Wilde Wedding
    The soullessness of the enterprise is staggering. Making clichéd, cynical gestures toward romance, Mr. Harris (whose last feature was almost a decade ago) tortured me for a full 96 minutes.
  24. Wetlands
    For some, its atmosphere and intriguing performances will prove worthy of the outing.
  25. Brad's Status
    Brad’s Status at its best is genuinely thought-provoking.
  26. Rat Film
    Equal parts disturbing and humorous, informative and bizarre, Rat Film is a brilliantly imaginative and formally experimental essay on how Baltimore has dealt with its rat problem and manipulated its black population.
  27. Strong Island
    This potent film gives equal weight to complex emotions as well as bare facts. In the same way, it’s not just the story of a man’s death, but also a study of the aftermath.
  28. Manolo: The Boy Who Made Shoes for Lizards
    In a scene puzzlingly late in the film, Mr. Blahnik, who apparently still makes samples by hand, walks through his factory and finesses a sensuous heel out of a stump of wood. More of that would have made this confection about a radiant man into something sturdier.
  29. In Search of Fellini
    The movie can shift unevenly from effusive love letter to travel lust to sentimental moment, but that doesn’t break the fantasy.
  30. American Assassin
    The movie, directed by Michael Cuesta from a script by a team of blue-chip writers (Stephen Schiff and Michael Finch are credited, along with Edward Zwick and Marshall Herskovitz), shows more skill than personality.
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