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. Sex Doll
    The movie doesn’t credit any source material, but it plays like a poorly dramatized magazine exposé.
  2. Fifty Shades Darker
    A professional with real credits, so I assume that [Mr. Foley's] not finally responsible for the ineptitude of Fifty Shades Darker, which ranges from continuity issues to unsurprisingly risible writing. There are also abrupt swings in tone, dead-end detours and flatline performances, including from Ms. Johnson.
  3. John Wick: Chapter 2
    The plot matters only inasmuch as it allows the returning director, Chad Stahelski, to stage his spectacular fight sequences in various stunning Roman locations, where they unfold with an almost erotic brutality.
  4. Speed Sisters
    Subtly rebellious and defiantly optimistic, “Speed Sisters” masks the sound of gunshots with the roar of revving engines. For these women, driving symbolizes a freedom they can otherwise only imagine.
  5. 1 Night
    The journey could be a bit more eventful, but the payoff is charming.
  6. Left on Purpose
    Arguments over whether the documentary’s existence honors Mr. Vishner’s wishes and spirit — and whether continuing to film was appropriate — lead in circles.
  7. A United Kingdom
    While her filmmaking style can sometimes come across as staid, [Ms. Asante's] sense of pace is always acute. The best reason to see A United Kingdom, however, is the performance by Mr. Oyelowo.
  8. Kedi
    The movie is replete with ingeniously constructed mini-narratives, including a turf war. The mesmerizing score by Kira Fontana, interspersed with well-chosen Turkish pop, is a real asset.
  9. The LEGO Batman Movie
    As gateway drugs go, The Lego Batman Movie is pretty irresistible. It’s silly without being truly strange or crossing over into absurdity. Along the way it pulls off a nifty balancing act: It gives the PG audience its own Batman movie (it’s a superhero starter kit) and takes swipes at the subgenre, mostly by gently mocking the seriousness that has become a deadening Warner Bros. default.
  10. Rings
    This film doesn’t find any fresh ways to make you jump out of your seat. Ms. Lutz is appealing, though, and fans of the franchise will probably be pleased with the elaboration. Too many horror sequels are content merely to recycle what worked the first time.
  11. Chapter & Verse
    The movie’s wide-screen framing, ruthless plot reversals and say-what-you-mean writing sometimes recall a master of socially conscious cinema from another era, Sam Fuller. But this is a picture with its own strong voice.
  12. Growing Up Smith
    The movie has a roughly equal number of clumsy moments and sweet ones.
  13. A Good American
    A Good American gets bogged down in details and personnel talk, but its subjects have an urgent narrative to tell.
  14. Eloise
    A horror movie of such ineptitude that it invites sympathy for even its least gifted participants.
  15. Oklahoma City
    Oklahoma City suggests that conspiracy theories today have consequences for tomorrow — a message with terrifying implications in an age of fake news.
  16. War on Everyone
    Mr. McDonagh’s palette and spleen remain mostly intact, but here he’s neglected to include a story or point.
  17. Youth in Oregon
    A depressing slog that could have been so much more.
  18. Dark Night
    Until its climax, which clearly seeks to be congratulated on its restraint, Dark Night is not much more than an arty bore.
  19. This Is Everything: Gigi Gorgeous
    Adam Wescott and Scott Fisher, Ms. Lazzarato’s management team, are executive producers for the film, and to a great extent “This Is Everything” seems to follow an agenda set by them in tandem with the movie’s subject, which is largely commendable in its pitch for acceptance and against bigotry.
  20. Sophie and the Rising Sun
    The gently nostalgic mood and sleepy pacing effectively erase the movie’s necessary edge.
  21. The Space Between Us
    The movie is consistently tougher to resist than it might seem.
  22. I Am Not Your Negro
    Though its principal figure, the novelist, playwright and essayist James Baldwin, is a man who has been dead for nearly 30 years, you would be hard-pressed to find a movie that speaks to the present moment with greater clarity and force, insisting on uncomfortable truths and drawing stark lessons from the shadows of history.
  23. The Comedian
    The director, Taylor Hackford, never makes any of this pop, which isn’t a surprise given the material.
  24. Mr. Gaga
    A more finely focused treatment would have made a much better summation of, or introduction to, Mr. Naharin’s work.
  25. The Lure
    We are not exactly in the present and not precisely in the past, but in a dreamy cinematic space where distinctions of genre and tone are pleasantly (and sometimes shockingly) blurred.
  26. Raees
    Avoiding flabby subplots, Mr. Dholakia keeps Raees taut and suspenseful, even at two and a half hours, though it probably has a song too many
  27. S Is for Stanley
    For Kubrick enthusiasts, this picture will provide a fun and sometimes moving fix.
  28. The Daughter
    The characters don’t have conversations so much as helpfully recite their back stories, and the long-buried secret is soon so obvious that the movie’s last-act hysteria feels forced and a little ridiculous.
  29. The Age of Consequences
    The information here is compelling and frightening, but the movie is ham-handed.
  30. Midsummer in Newtown
    Some tragedies defy conventional representation. Unlike the play it documents, this documentary shows few signs of thinking outside the box.
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