The New York Times' Scores

Select another publication »
For 20,271 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 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
view
per page
  1. The Mermaid
    While second-guessing the marketing strategies of movie conglomerates is happily not the concern of this reviewer, it does seem a shame that this exhilarating, bizarre, good-hearted, blatantly obvious sci-fi-fantasy-slapstick eco-fable isn’t getting wider fanfare.
  2. Forsaken
    A starry father-son pairing is largely squandered in Forsaken, an old-school western that is a little too old school for its own good.
  3. Rolling Papers
    It’s full of discussion points but lets them go by undiscussed.
  4. We Are Twisted F***ing Sister!
    The movie tells an incomplete version of the band’s story...but provides a comprehensive and sometimes harrowing portrayal of the grind a working bar band in the 1970s had to endure to get by.
  5. The Witch
    With a gentle rap-rapping, Mr. Eggers intensifies the shivers with art-film moves, genre shocks and an excellent cast that includes a progressively rowdy menagerie.
  6. Diamond Tongues
    The prickly tone is a difficult balancing act, and Diamond Tongues may settle for being a softer-hearted film than its most cynical scenes portend. But it has a palpable affection for Toronto’s cultural scene and for Ms. Goldstein.
  7. Risen
    If you drink every time you’re reminded of Monty Python’s 1979 Judean jaunt, “Life of Brian,” you might just make it through to the end.
  8. Snowtime!
    It is aimed at younger children and includes pretty songs, but it doesn’t soft-pedal anything. Its low-key story is about friendship, but it’s also about loss, which should leave pint-size viewers with plenty to think about.
  9. Embrace of the Serpent
    Viewed largely through the aggrieved eyes of a shaman whose tribe is on the verge of extinction at the hands of Colombian rubber barons in the 19th and 20th centuries, Embrace of the Serpent, a fantastical mixture of myth and historical reality, shatters lingering illusions of first-world culture as more advanced than any other, except technologically.
  10. Race
    If Race is a standard inspirational biopic that exalts the legend of an athletic hero, at least it doesn’t soft-pedal the racism that Owens encountered at every turn.
  11. Already Tomorrow in Hong Kong
    The two stars are attractive, and Emily Ting, who wrote and directed, makes the city look great, but during their endless strolling Ruby and Josh never get much beyond shallow banter.
  12. Bad Hurt
    Throughout, the filmmakers live up to the movie’s title. But as the story comes to a close, they opt to wrap it in comforting cliché, and they turn a miserable but credible viewing experience into a confounding one.
  13. Fitoor
    Based, sometimes loosely, sometimes carelessly, sometimes pointlessly, on “Great Expectations,” the Hindi movie Fitoor is at all times more Bollywood than Dickens.
  14. Cabin Fever
    Who benefits from the existence of this film? Certainly not the largely bland ensemble of post-adolescent actors cast as the leads, who here can scarcely be called characters. Possibly the day players essaying those stock grotesques, who retain the air of being hungry for work.
  15. Touched With Fire
    Touched With Fire is an actor’s field day, and both Mr. Kirby and Ms. Holmes boldly meet the challenge of playing bright, high-strung artists struggling with depression.
  16. Glassland
    There’s much in the movie to admire until it runs headlong into a stone wall.
  17. Mountains May Depart
    Mr. Jia’s approach means that you have to do a certain amount of interpretive work, though mostly you just have to pay attention and be a little patient. If you do, you will notice that Mountains May Depart is a movie of threes: its main characters, moments in time, narrative sections, historical symbols and even aspect ratio come in triplicate.
  18. A War
    The conclusion would be chilling if it weren’t so reserved. For Denmark, the film, an Oscar nominee in the foreign-language category, might seem quietly radical, but Mr. Lindholm errs too far on the side of quiet.
  19. How to Be Single
    This reheated “Sex and the City” adventure flops, even with Leslie Mann and Rebel Wilson hard at work being funny.
  20. Zoolander 2
    Zoolander 2 has enough plots for several movies. They are so jammed together that they more or less cancel each other out.
  21. Deadpool
    It’s no surprise that the teams hired to bring a property like Deadpool to the screen know how to keep the machine oiled and humming; it’s the ones who somehow manage to temporarily stick a wrench in the works, adding something human — a feeling instead of another quip — who are worth your attention.
  22. Regression
    The movie is ultimately a tepid and frustrating experience.
  23. Fort Buchanan
    If, at barely more than an hour, the movie initially seems slight, its inconsequentiality might be better viewed as polemical.
  24. The Pack
    A dreary Australian movie, directed by Nick Robertson, that has more dogs than “Cujo” but noticeably less plot.
  25. Tumbledown
    We’re meant to warm to Hannah and Andrew as they wear each other down with good-natured ribbing. But Ms. Hall and Mr. Sudeikis hardly warm up themselves, showing little chemistry and looking unsure how to play the film’s tone, or the would-be zingers.
  26. Southbound
    These are fragments more than complete stories, and the incompleteness is its own kind of creepiness.
  27. The Club
    There is power in this vision, but it can also feel forced, almost mechanical.
  28. Misconduct
    This clumsy, poorly written action thriller is such a complete catastrophe that you wonder how actors with the stature of Mr. Hopkins and Mr. Pacino were bamboozled into appearing in it.
  29. Eisenstein in Guanajuato
    Beyond the arty trappings and flamboyant showmanship that are typical of Mr. Greenaway, 73, Eisenstein in Guanajuato is a brazen provocation.
  30. 4th Man Out
    The director, Andrew Nackman, in making a super-mainstream film, leans so far toward the feel-good end of the spectrum that he forgoes the opportunity to make something that is more real, more fraught, more complex.
Page:

Top Trailers

See all »
See all trailers »