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 Nut Job 2: Nutty by Nature
    The jokes are thin, the computer animation is wanting and the inane plot is a series of set pieces strung together.
  2. Good Time
    Sometimes it flaunts its clichés...and other times it cloaks them in rough visual textures and jumpy, bumpy camera movements, so that a rickety genre thrill ride feels like something daring and new. It isn’t. It’s stale, empty and cold.
  3. Whose Streets?
    This is direct and frequently powerful filmmaking that doesn’t much care about meeting my aesthetic standards.
  4. Planetarium
    Tidiness isn’t crucial, but watching Planetarium often feels like making contact with fragments of a great three-hour movie.
  5. The Only Living Boy in New York
    Allan Loeb’s script is glib and grating.
  6. The Trip to Spain
    Though the spaces between the funny voices are filled with verdant hillsides and vanilla beaches that stretch the length of the frame, there’s an occasional sour edge to the comedic sparring.
  7. The Farthest
    For any believer in humankind’s instinct to transcend boundaries, the Voyager 1 and Voyager 2 space probes, and the NASA team that produced them, inspire awe. The Farthest, a dazzling documentary written and directed by Emer Reynolds, illustrates why.
  8. Annabelle: Creation
    As with last year’s “Lights Out,” [Sandberg] proves a master of the flash-scare, a nifty choreographer of precipitous timing and striptease visuals. But he’s also adroit with more leisurely horrors.
  9. Ingrid Goes West
    Ingrid Goes West comes close to saying something sharp about how social media promotes envy and the illusion of connectivity, but when a comedy chooses such an obvious target, it should have the courtesy to aim from an oblique angle.
  10. Nocturama
    Without a real-world correlative for the actions it depicts, Bertrand Bonello’s new film would merely be tedious and pretentious rather than repellent.
  11. Pilgrimage
    Pilgrimage raises a question or two about unexamined beliefs and religious zeal. Those questions, as well as all that blood, won’t appeal to everyone. But those who can stomach them will receive some dark rewards.
  12. In This Corner of the World
    As our window into a world lost to violence, Suzu gives us the chance to see rabbits in rivers, though her rosy view obscures history’s shadows with a preponderance of golden light.
  13. The Nile Hilton Incident
    The trouble with the movie — and it’s significant — is that Mr. Saleh is so keen to survey Egypt’s dysfunction that his pacing wanes. It’s possible to admire each scene and still see this film, in its entirety, as in need of some serious sharpening.
  14. A Taxi Driver
    The film climaxes with a breathless escape from Gwangju, as Kim and Hinzpeter elude government vehicles with the aid of other cabdrivers. But most impressive is Mr. Song, who persuasively conveys a working stiff’s political awakening.
  15. The Glass Castle
    It’s both too tidy and too messy, and at the same time neither quite wild nor quite sensible enough.
  16. Machines
    The ideological charge leveled for decades at this strain of filmmaking is that such eye-catching tableaus romanticize poverty, but prettified squalor has become sadly familiar in global documentary filmmaking. In Machines, even at barely more than an hour, the style leads to diminishing returns.
  17. After Love
    Not unlike an expensively tattooed panhandler, the couple elicit only a skeptical kind of sympathy.
  18. The Incredible Jessica James
    This is Ms. Williams’s movie, and she owns it.
  19. It's Not Yet Dark
    Painful to watch and uncomfortably intimate at times, perhaps by design, It’s Not Yet Dark could have been very dark indeed.
  20. 68 Kill
    It’s a little amazing how a story so guilty of gross-out violence can retain a share of comic innocence.
  21. Armed Response
    The possibilities are intriguing, but the characters are underdrawn, and the pacing lags.
  22. The Battleship Island
    Though Mr. Ryoo’s taste for heightened theatricality threatens his story’s credibility at times, there is no denying his skill with a large-scale action set piece.
  23. Brave New Jersey
    The film’s narrative simplicity can be charming or frustrating, depending on your feelings about awkward dialogue and overreacting actors.
  24. Icarus
    Mr. Fogel could be considered either daring or foolhardy for his initial plan. But his work with Dr. Rodchenkov is levelheaded, and his documentary illuminating.
  25. Chronically Metropolitan
    One longs to praise Mr. Manrique for attempting a serious-minded story in this, his first feature. But there needs to be a real reason to embrace it, rather than what’s on this screen.
  26. 4 Days in France
    While Mr. Reybaud has exemplary artistic confidence and an interesting vision, this is a movie that in many ways defines or justifies the “not for everybody” critical hedge.
  27. Fun Mom Dinner
    All four actresses have a natural chemistry and manage to give some inner dimensions to these otherwise archetypal characters.
  28. Step
    The film’s success is directly dependent on the personalities — and achievements — of the young women highlighted. Despite the narrative gaps, Ms. Lipitz excels at putting across those personalities.
  29. Kidnap
    The greatest strength of Kidnap is that it casts the maternal instinct as a primordial will to enact violence.
  30. The Dark Tower
    About the only thing holding it together is Idris Elba, whose irrepressible magnetism and man-of-stone solidity anchors this mess but can’t redeem it.
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