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 Breaking Ice
    The setting is rife with metaphoric potential, and it is here that Chen falters as a director.
  2. Which Brings Me to You
    Which Brings Me to You is cleverly structured but often feels too crowded with the ghosts of lovers past.
  3. The End We Start From
    It’s as much a movie about the hazy struggles of early motherhood as it is about survival in a destroyed world — and it’s best when it leans into the former, with characters’ discussing why anyone has a baby at all.
  4. Pasang: In the Shadow of Everest
    While the interviewees speak of Sherpa with sincerity and affection, “Pasang: In the Shadow of Everest” never locates a satisfying big-picture idea or formal approach that would make it more than a straightforward tribute.
  5. Inside the Yellow Cocoon Shell
    Pham manages to float existential and spiritual questions into Thien’s consciousness and ours without trying to offer solutions, at least in language.
  6. June
    The bare facts of Carter Cash’s story are such that the filmmakers would have had to really mess up to not produce a movie that entertains and moves a viewer to tears. “June,” rest assured, does the job well.
  7. I.S.S.
    What follows is consistently watchable and sometimes tense but, despite some twists, largely unsurprising.
  8. Role Play
    One is quick to forgive faulty plot machinations when an action movie really revs; Role Play merely spins its wheels.
  9. Lift
    Hart possesses neither the charisma of Cruise nor the charm of Redford necessary to shoulder these action movie mechanics, a failure that demonstrates what happens when character actors are told they’re movie stars.
  10. Self Reliance
    The movie is too juvenile and too timid to acknowledge the real-world chill of its online cabal of murderous social misfits.
  11. The Settlers
    Gálvez’s work here is by turns blunt and subtle, and very assured.
  12. Apolonia, Apolonia
    Apolonia, Apolonia is beguiling as a portrait of women with ambition, but also bittersweet.
  13. Inshallah a Boy
    Hawa, a Palestinian actress, is commanding as a woman whose future and faith are buffeted by her narrowing options.
  14. Driving Madeleine
    It’s a heart-warmer about respecting your elders.
  15. The Book of Clarence
    If The Book of Clarence doesn’t totally work, its combination of the sacred and the irreverent is enchanting. It gets bogged down in its own mud, but it’s certainly shooting for the stars.
  16. Mean Girls
    It’s not especially tart and is undeniably over-padded, but its charms and ingratiating likability remain intact.
  17. Public Speaking
    In “Public Speaking,” Martin Scorsese’s enormously enjoyable and perceptive documentary about her, Ms. Lebowitz’s endearing narcissism is a study in the notion that arrogance and insecurity are largely two sides of the same cocktail coaster.
  18. The Beekeeper
    Statham excels as a straight-faced goof. Between his glower and the movie’s high-quality production values, this brain cell-destroying schlock resembles an earnest drama.
  19. Night Swim
    The problem with Night Swim is that it’s trying to say a little too much, which isn’t a complete pleasure-killer, but can get distracting.
  20. Good Grief
    Good Grief does that rare, beautiful thing: It trusts the audience to pay attention.
  21. He Went That Way
    Few things in this laboriously quirky picture mesh at all.
  22. Artie Shaw: Time Is All You've Got
    An all-star roster of interviewees, including the luminaries Mel Tormé and Buddy Rich, contributes to an unfailingly entertaining saga.
  23. Memory
    Chastain reliably holds the screen even if her performance often feels overly studied rather than lived in, never more so than in her scenes with Sarsgaard, whose delicate, quicksilver expressiveness appreciably deepens both the movie and its stakes. You don’t always believe in Sylvia and Saul as a couple, but Sarsgaard makes you want to.
  24. Mayhem!
    A mood board of mashing, slashing, snapping and splintering, this feature, directed by Xavier Gens, is revenge-movie cliché ground down to the studs.
  25. Society of the Snow
    The material is fundamentally gripping, and parts of it are tough to resist . . . But Society of the Snow is a perverse movie to watch the way most people will see it — on Netflix, in the comfort of their homes, with a refrigerator nearby.
  26. Rose
    Alongside Oplev’s commitment to genuine feeling and complexity — you won’t find easy solutions here — Grabol’s performance shines.
  27. The Boys in the Boat
    The script is as subtle as a bonk on the nose, and the editing repeats every beat twice-over in broad pantomime and meaningful looks.
  28. The Teachers' Lounge
    Taking on the uneasy complexity of a progressive modern society, and the friction produced when pluralism and an insistence on order and obedience collide, is a bold move, and The Teachers’ Lounge pulls it off with a sense of tension that makes the whole thing play like a thriller.
  29. The Crime Is Mine
    The Crime is Mine is the epitome of a comfort film, decked out in old-Hollywood nostalgia and unfolding at an auctioneer’s clip. Its fun and games are deceptively smart — all the more because the women know their angles so triumphantly well.
  30. Ferrari
    Mann shoots this lunatic race from every conceivable angle — with cameras in and out of cars, bearing down on drivers’ faces, agitatedly hovering midair — creating an immersive, visceral intimacy that, as engines whine and thunderously roar, you feel in your bones.
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