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. Urban Hymn
    If Urban Hymn starts with that familiar dynamic, it stays surprisingly fresh thanks to three fine performances and a willingness to be uncompromising.
  2. Get Me Roger Stone
    Topicality is all or at least a large part of the movie’s draw.
  3. Paris Can Wait
    By the time the final meal is devoured, you’ll be wanting nothing so much as an antacid.
  4. Lowriders
    Cars could easily have been the stars of Lowriders, but the film makes them supporting players in a family drama that’s a mix of strong scenes and shopworn ones punctuated by clichés.
  5. Manifesto
    As an oblique examination and critique of political and art history and their various interactions over the 20th century, Manifesto is both witty and provocative. It is not, however, a motion picture for people seeking a plot.
  6. Snatched
    Though this movie ostensibly celebrates the spirit of adventure and openness to experience, it takes no risks and blazes no trails. It’s ultimately as complacent, self-absorbed and clueless as its heroine, and not always in an especially amusing way.
  7. The Drowning
    The Drowning...distinguishes itself by applying a depth of psychological observation that yields a genuinely unsettling vision.
  8. Sacred
    A kaleidoscopic travelogue depicting demonstrations of faith worldwide.
  9. A Woman's Life
    Its images and scenes are suffused by an intensity that seems almost to be a quality of the light and air as they play across Ms. Chemla’s watchful, sometimes inscrutable features.
  10. Another Evil
    An ultra-low-budget ghost story with an off-kilter sensibility that initially intrigues but ultimately fizzles.
  11. Burden
    This is a film unafraid to look at [Burden's] acts, but timid when approaching his ideas.
  12. The Dinner
    Despite frequent flashbacks and Bobby Bukowski’s richly dimensional photography, the movie has a static, stagy look that amplifies the oppressiveness of its increasingly unpleasant exchanges.
  13. Julian Schnabel: A Private Portrait
    No commercials are shown during Julian Schnabel: A Private Portrait. They would only be redundant. Instead this documentary serves as a feature-length advertisement for the artist, and is about as daring as a billboard for skim milk.
  14. Like Crazy
    An energetic, visually attractive but ultimately irritating comedy-drama.
  15. Ta'ang
    Incorporating his typically arduous, slow-paced style, Mr. Wang doesn’t make things easy for viewers.
  16. Risk
    To some degree in spite of Ms. Poitras’s journalistic intentions — though very much as a consequence of her rigorous honesty — the picture that emerges is complicated, unsettling and intriguingly ambivalent.
  17. Guardians of the Galaxy Vol. 2
    It’s tough being a hitmaker who isn’t weighed down by corporate expectations, but for a while, Mr. Gunn does a pretty good job of keeping the whole thing reasonably fizzy, starting with an opener that winks at the audience with big bangs and slapstick.
  18. 3 Generations
    Ray is courageous just for making the decision to change sexes. The film — which, by the way, includes a surprising amount of droll humor — would be better if it trusted the audience to recognize this, rather than piling ordeals worthy of the Labors of Hercules onto its protagonist.
  19. The Lovers
    Falling with a thud between two stools, it has neither the zip nor the zaniness of farce nor the airy vivacity of the best romantic comedies.
  20. Angkor Awakens: A Portrait of Cambodia
    The graphic evidence here, in testimony on camera and in period photographs, is absolutely harrowing.
  21. Take Me
    Parts of it work, but the overall package is never really suspenseful enough to have you on edge or overtly funny enough to be a lark.
  22. Chuck
    Mr. Schreiber has almost no physical resemblance to Wepner, in his heyday a burly, mustachioed redhead. Mr. Schreiber is a terrific actor, however, and he pulls it off. His portrayal works partly because of its understatement.
  23. Mr. Chibbs
    The film, like its subject, frustrates in its inability to focus; there is no deep inquiry into what makes Anderson tick. It’s like skimming a stone across a lake.
  24. Last Men in Aleppo
    This is an essential film, but it is also a terribly dispiriting one.
  25. How to Be a Latin Lover
    The whole enterprise is so fundamentally good-natured and fluffy that it’s sometimes hard to stay annoyed by it.
  26. Boone
    Boone is slightly monotonous, and familiarity may be one cause.
  27. Buster's Mal Heart
    Buster’s Mal Heart is about the making of a madman. It also aspires, with less success, to philosophically query the void at the center of modern life and Christianity’s failure to fill it.
  28. The Circle
    The novel is at its most trenchantly funny when depicting the exhausting nature of virtual social life, and it’s in this area, too, that the movie gets its very few knowing laughs. But it’s plain, not much more than 15 minutes in, that without the story’s paranoid aspects you’re left with a conceptual framework that’s been lapped three times over.
  29. Casting JonBenét
    It’s a handsome package that never transcends the banality of its ideas, most of which involve how different people, including from Boulder, were affected by the case.
  30. One Week and a Day
    It meanders from start to finish, searching for a tone that it never quite finds.
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