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. Passengers
    Passengers increasingly succumbs to timidity and begins shrinking into a bland science-fiction adventure whose feats of daring and skill feel stale and secondhand.
  2. Sing
    The aggregate effect is like aesthetic insulin shock, albeit from an artificial sweetener.
  3. Assassin's Creed
    For an ostensible action movie, the cast spends an awful lot of time standing around and looking lost. I can only guess that they were following their director’s lead.
  4. Patriots Day
    My reservations about such pictures in general were not put to rest by Patriots Day, but this film’s real merits are not easily dismissed either.
  5. Short Stay
    As it drags along, the movie makes you feel trapped in the shoes of someone destined for failure.
  6. Two Lovers and a Bear
    The beauty and absurdity (things also get harrowing) don’t entirely compensate for the overheated romanticism in which the movie is grounded, but they do make Two Lovers and a Bear a nearly singular cinematic trek.
  7. Solace
    Staggeringly silly and visually disordered.
  8. The Wasted Times
    The Wasted Times plays like a movie carved out of a much larger mini-series, whose segments are then shown out of order.
  9. The Hollow Point
    The combined skills of the director, Gonzalo López-Gallego, and his cinematographer, José David Montero, can’t surmount a story that gives us no one to invest in.
  10. Ghostland: The View of the Ju/’hoansi
    This is an engaging movie depicting some sympathetic people, and is ultimately worthwhile. But there’s a one-dimensional quality to Ghostland; Mr. Stadler’s team obviously felt it was more important to record events than to explore conditions.
  11. The Ataxian
    The Ataxian has moments of inspiration, beauty, even euphoria. But its lasting contribution is in making the world a little more familiar with this disease, and a little less lonely for the families struggling against it.
  12. Barry
    The movie’s lived-in realism puts Barry on the ground, rather than in the air, where he experiences the usual coming-of-age agonies and joys.
  13. Neruda
    Mr. Larraín invites us to believe that history is on the side of the poets and the humanists, and that art will make fools of politicians and policemen. But he is also aware, as Pablo Neruda was, that history sometimes has other plans.
  14. Collateral Beauty
    Many of the words that I would like to use to describe this waste of talent and time...can’t be lobbed in a family publication. So, instead, I will just start by throwing out some permissible insults: artificial, clichéd, mawkish, preposterous, incompetent, sexist, laughable, insulting.
  15. Fences
    Even as it properly foregrounds Wilson’s dialogue — few playwrights have approached his genius for turning workaday vernacular into poetry — Fences is much more than a filmed reading. Mr. Washington has wisely resisted the temptation to force a lot of unnecessary cinema on the play.
  16. Rogue One: A Star Wars Story
    Plots and subplots are handled with clumsy expediency, and themes that might connect this movie with the larger Lucasfilm mythos aren’t allowed to develop. You’re left wanting both more and less.
  17. Sword Master
    This nostalgic nod to the Chinese magic-and-martial arts genre known as wuxia mixes love story and clan war with equal amounts of silliness and heart.
  18. The Brand New Testament
    Most of the humor is too lighthearted to offend all but the most reverent believers, and the movie’s inventiveness rarely flags.
  19. On the Map
    The movie makes no attempt to engage any current situation, basking instead in a one-dimensional nostalgia.
  20. Slash
    For a movie about proud outcasts, Slash is a little square.
  21. Lost and Beautiful
    Mr. Marcello tells a simple, touching tale that seems to contain a whole cosmos of meaning.
  22. Harry Benson: Shoot First
    The film, by Justin Bare and Matthew Miele, would be better if it spent less time gushing about how great Mr. Benson is and more time confronting some of the questions his approach raises.
  23. Frank & Lola
    Frank & Lola proves more about him than her. That’s partly because of the story, partly because the writer-director Matthew Ross doesn’t have a full handle on it or his actors.
  24. Burn Country
    Mr. Rains, Ms. Leo and Mr. Franco are all so interesting that you wish they had more to bite into. But the film has a transfixing quality nonetheless.
  25. Beyond the Gates
    Getting retro right is harder than it seems.
  26. All We Had
    The best thing about All We Had is Ms. Holmes’s stormy portrayal of a desperate, foolishly trusting woman who rushes from man to man seeking security, only to find herself used and betrayed while her daughter looks on with increasing dismay.
  27. Office Christmas Party
    Sometimes the movie, directed by Josh Gordon and Will Speck, is too obviously just a framework for its stars to deploy goofy schtick, but the overall package is naughty, inappropriate fun.
  28. La La Land
    La La Land succeeds both as a fizzy fantasy and a hard-headed fable, a romantic comedy and a showbiz melodrama, a work of sublime artifice and touching authenticity.
  29. Hogtown
    Hogtown plays like a find from a forgotten archive.
  30. Goodnight Brooklyn - The Story of Death by Audio
    The movie is not boring as such, but because it is a chronicle told almost entirely by the people behind the space (Mr. Conboy being one of them), it is relentlessly personal — there’s no genuine cultural critique.
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