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 Stones and Brian Jones
    [Broomfield’s] announcer-like voice-over and sometimes dishy interviews might evoke a “Behind the Music” exposé, but he seems most like a fan with a rueful sympathy for his devil of a subject.
  2. The Disappearance of Shere Hite
    Nicole Newnham’s film recoups Hite’s story from the margins of feminist history with both style and substance, taking its cue from its subject.
  3. Trolls Band Together
    The animation is strong, if too candy-coated, and the film is clever and funny from time to time. And parents might even find their own inner boy band fever ignited alongside their kids.
  4. Best. Christmas. Ever.
    At barely 80 minutes (and ending with a musical number from Brandy), Best. Christmas. Ever! resembles a television holiday special more than a feature film, and its plot follows the predictable Christmastime themes of love, acceptance, and being thankful for what you’ve got.
  5. Rustin
    Every so often an actor so dominates a movie that its success largely hinges on his every word and gesture. That’s the case with Colman Domingo’s galvanic title performance in Rustin.
  6. The Strangler (1970)
    It’s like “Peeping Tom” meets one of Dario Argento’s giallo joints, but slathered in a coat of melancholic malaise.
  7. The Hunger Games: The Ballad of Songbirds and Snakes
    Our world so hauntingly echoes Collins’s fictions that the film, shot last summer, moves us to spend its gargantuan running time reflecting on contemporary headlines, mourning the generational tragedy of anger and fear begetting anger and fear.
  8. David Holmes: The Boy Who Lived
    “The Boy Who Lived” provides an unusual behind-the-scenes portrait of how life goes on after movies are made.
  9. The Lady Bird Diaries
    Many of the archival images Porter so fluidly employs will be familiar, but they gain fresh energy and timely urgency from Johnson’s absorbing narration and her often stirring observations about Lyndon Johnson, their political partnership, the environment and the two events she so presciently knew would shape us for decades to come: the civil rights movement and the Vietnam War.
  10. The Killer
    The character is boring and so is this movie, but like the supremely skilled Fincher, who can’t help but make images that hold your gaze even as your mind wanders, Fassbender does keep you watching.
  11. Orlando, My Political Biography
    Preciado’s superpower in this warm, generous movie is that while he speaks brilliantly to the cages of identity, he sees — and shares — a way out of them. He talks and listens, he exhorts and confesses. He insists on pleasure, speaks to happiness, invites laughter and opens worlds. Here, joy reigns supreme, and it is exhilarating.
  12. A Still Small Voice
    It’s human and messy — and it’s divine.
  13. Journey to Bethlehem
    The magic of movies does depend on a certain suspension of disbelief, but “Journey” tests the viewer beyond rational credulity, even as it persists in asserting the reality of its existence.
  14. Manodrome
    Crude and sensationalizing, Manodrome is like an amalgam of all the headlines you’ve read about the kinds of men who succumb to warped ideologies.
  15. Youth (Spring)
    While the running time may be indulgent, the experience of feeling trapped in this world is difficult to shake.
  16. Albert Brooks: Defending My Life
    While Brooks deserves acclaim, he deserves it in a format as compelling and dynamic as he is. “Defending My Life” is simply too flat.
  17. This Much We Know
    As eloquent as it is, This Much We Know may also be exploitative.
  18. Dream Scenario
    Pondering the downside of notoriety and our willingness to exchange safety for fame, Dream Scenario is often funny and frequently surreal.
  19. The Marvels
    It’s frustrating what weak tea this movie is because the director, Nia DaCosta (“Little Woods,” “Candyman”), has talent, the cast is appealing, and there’s a lightly gonzo scene that shows you what the other 100 minutes could have been. It’s almost as if the suits at Marvel Studios know it doesn’t matter if their movies are any good.
  20. You Were My First Boyfriend
    Despite its title, You Were My First Boyfriend is at its most effective when Aldarondo moves beyond teen lust and into the more complicated aspects of her upbringing.
  21. In the Court of the Crimson King: King Crimson at 50
    Fripp, an endlessly thoughtful and meticulously articulate guitarist, is the group’s most tireless and paradoxical explainer in the film.
  22. Going to Mars: The Nikki Giovanni Project
    The documentary offers only what the poet is willing to give.
  23. Radical
    Despite its foundation in reality, Radical is as by the books as it gets.
  24. Sly
    Stallone’s flair for words — and his references to Arthur Miller’s “A View from the Bridge” and the 1968 dynastic drama “The Lion in Winter” — make one wish he’d talked about much more than his greatest hits and misses.
  25. Beyond Utopia
    The engrossing, often tense proceedings are slightly marred by a pushy score. All the same, being able to experience the escape alongside these subjects greatly distinguishes this documentary.
  26. Fingernails
    This gently humorous movie operates so smoothly you may not notice its subversiveness.
  27. Quiz Lady
    Quiz Lady, a mostly winning comedy directed by Jessica Yu, is elevated most of all on the shoulders of Oh’s delightful and nuanced performance.
  28. Nyad
    Diana wants our respect — and by the end of the movie, she’s earned it. While she’s one of the prickliest protagonists you’ll see this year, she’s so raw and earnest and apologetically herself that you adore her anyway — from the safe distance of the screen.
  29. Subject
    Subject is at its clearest when interrogating the material conditions of documentary filmmaking, as during a segment about whether the subjects of nonfiction films have the right to be paid for their participation; it feels slipperier when glossing issues of diversity and representation.
  30. What Happens Later
    While it’s unlikely to join the rom-com pantheon, its charming leads and humorous truths do invoke the spirit of Ephron, to whom the film is dedicated. It’s a worthy tribute to her, delivered by perhaps the most qualified person to create one.
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