The New York Times' Scores

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For 20,268 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 4.3 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 20268
  2. Mixed: 8,427 out of 20268
  3. Negative: 2,464 out of 20268
20268 movie reviews
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  1. The Accidental Getaway Driver
    Despite comic touches, the story stays in the shadows of heart-to-heart talks and ruminations, with contemplative cinematography that sets faces like gems in the darkness and conjures heady visions of Long in Vietnam.
  2. Superboys of Malegaon
    This tale — inspired by the 2008 documentary “Supermen of Malegaon” — succeeds most as a touching tribute to friendship.
  3. A Sloth Story
    A Sloth Story suffers from a plasticky visual design. The characters seem stiff, like action figures, and their food items, meant to look appetizing, are often rendered as colored medallions.
  4. Last Breath
    Last Breath is disappointingly shallow and fatally lethargic.
  5. We Beat the Dream Team
    It’s rare to see a documentary airing out a long-running beef as beautifully, good-naturedly and enjoyably as this one.
  6. The Unbreakable Boy
    Mainly the story, set in Oklahoma, dispenses its lessons in gratitude, self-forgiveness and sobriety with straightforward sincerity. Sometimes that works, and sometimes it lands with a thud.
  7. Compensation
    Compensation brims with insights and ideas.
  8. Art Spiegelman: Disaster Is My Muse
    Everyone is engaging, the art is magnificent and the whole thing pleasant, if overly cozy and hagiographic. That’s too bad. Then again — with “Maus” and his other work — Spiegelman has already produced his definitive biography.
  9. Ex-Husbands
    Pritzker directs genuine performances and has an ear for conversations with the ring of everyday emotion.
  10. Millers in Marriage
    Its characters may be stressed out, but its rhythms are leisurely, the skill of the actors mostly countering the weaknesses in the script.
  11. Old Guy
    Beyond the stale plot and groaners that make up the dialogue, “Old Guy” suffers from haphazard pacing, as if every third scene was cut out in postproduction. Watching, one wonders who this movie is for — even within the target demographic stated in the title.
  12. The Quiet Ones
    The theft that inspired the movie has been called one of the biggest in Denmark’s history. It deserved a sleeker film.
  13. The Monkey
    The farce props up the nihilism, and gives The Monkey a strangely hopeful refrain.
  14. Sly Lives! (aka the Burden of Black Genius)
    The movie gets lost in the gulf between standard, if illuminating, biography and roiling existential crisis.
  15. The Gorge
    For all the elaborate weaponry, production design and (eventually) frantic action offered here, this movie crackles most as a lively pas de deux between Taylor-Joy and Teller, who commendably take their material seriously no matter how seriously ridiculous it gets.
  16. La Dolce Villa
    To be honest, the longer I watched La Dolce Villa, the more I started to think its very nonsensicality was the charm. It is not aiming for realism, even the kind of realism a previous generation of romantic comedy might have tried to evoke.
  17. Notes on Displacement
    In its form, Notes on Displacement mirrors the terrifying, dangerous journey it chronicles.
  18. Universal Language
    It’s a pensive meditation in an era of displacement, even if the film never tries to make a big point. The mood is palpable, and the meditation legible, even if Winnipeg and Iranian cinema are to you as remote as a chilly winter moon.
  19. Paddington In Peru
    It’s a somewhat rote exercise in soul-searching, and the script lacks subtlety. (At one point, a character actually says, “you have found yourself.”) But the experience is still a worthy one for our furry leading man.
  20. Bridget Jones: Mad About the Boy
    Almost a quarter of a century in, the Bridget Jones movies are coalescing into an evocative portrayal of a character coming to terms with both her imperfections and her strengths in real time.
  21. Captain America: Brave New World
    The writing is stiff and the ensemble is mostly charmless, while the visuals are slapdash.
  22. Paint Me a Road Out of Here
    Paint Me a Road Out Of Here is not a biographical film about Ringgold, even though you’ll learn a lot about her biography from it. The film has bigger aspirations, connecting art, prisons, activism and an expansive life.
  23. Love Hurts
    At 83 minutes, Love Hurts falls somewhere between making a virtue of brevity and wheezing its way to the finish line.
  24. The Fishing Place
    Tregenza is the kind of authentic independent who’s always worth seeking out; when he is behind the camera, he holds you rapt from the get-go.
  25. Armand
    By the end, a kind of narrative lethargy has set in. “Armand” feels mostly like an interesting formal exercise: an attempt to meld realism and surrealism in the most nondescript of places, but in a way that evokes an ancient terror.
  26. Parthenope
    Parthenope, like Sorrentino’s previous films, is an intentionally garish display of sex and luxury that is both irritating and oddly seductive.
  27. Bring Them Down
    This portrait of already wounded people who can’t stop inflicting pain on themselves and each other has a great deal of integrity. But if you’re seeking ennobling sentiment, you’ll do well to look elsewhere.
  28. Kinda Pregnant
    Most egregiously, the world of Kinda Pregnant is filled with dopey men and despairing women whose torments, parental or otherwise, make for a land mine of comedy duds.
  29. Heart Eyes
    It’s hard to discern who the film is for when it feels as if it’s been passed around genre writing classes in search of an identity.
  30. No Other Land
    Its subject — the Israeli-Palestinian conflict — couldn’t be more consequential, and its approach, which includes a directorial team of two Israelis and two Palestinians, feels genuinely daring and bold.
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