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 4.4 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. No Other Choice
    No Other Choice is easy to admire from one perfectly balanced shot to the next; it is a pleasure to see how Park plays with visual space and deploys some of the more slapstick comedy with sharply timed, Rube Goldberg-style finesse. If only the movie’s tones and moods were as modulated as its two vibrant, often touching lead performances.
  2. Goodbye June
    The story, about a dying matriarch and her stricken adult children, paints by numbers with stock characters and cloying scenarios.
  3. Father Mother Sister Brother
    The third segment, “Sister Brother,” is so lovely it prompts reconsideration of the first two.
  4. The Plague
    This is what The Plague does best: Its storytelling inhabits a world so heated and confusing to its characters — that is, burgeoning adolescence — that it’s sometimes unclear whether things are actually happening or just in Ben’s head.
  5. The Choral
    A moving account of music as a way of coping with war, as well as keeping it at bay.
  6. Song Sung Blue
    The couple’s earnestness sounds mockable, but it’s not: They are too sincere, too joyful and too grateful to be doing the only thing that either of them ever wanted to do. And right now all I want to do is dust off my vinyl copy of “Hot August Night.”
  7. The Testament of Ann Lee
    That it may not be to everyone’s taste, or to yours, feels almost besides the point. When an artist takes a swing this colossal and stays true to their vision in every way, the resulting work deserves respect, and is always worth seeing.
  8. Anaconda
    Rudd does his lovable simpleton shtick and manic Black carries on, as per usual, like a scruffy Don Quixote, but the film around them doesn’t quite keep pace with their go-for-broke absurdity.
  9. Marty Supreme
    A hyper-charged take on a bildungsroman, Marty Supreme is one of the most thoroughly pleasurable American movies of the year and one of the most exciting. Part of what makes it electric is how organically its numerous parts — its themes, characters, camera movements and accelerated pacing — fit together in a whirring whole.
  10. Breakdown: 1975
    If you’re an aficionado of ’70s cinema, there’s probably not much new here. The films covered are certainly a murderer’s row of masterpieces, but they’re familiar to cinephiles. Yet despite its lack of depth, there’s value to Breakdown: 1975 as an introduction to an era, particularly for younger people or newer movie lovers who might relish learning about the films of the time and the ways they weave into history.
  11. Cover-Up
    Cover-Up is a model of efficient, engaging documentary filmmaking; it looks good, for starters, and it moves energetically.
  12. Avatar: Fire and Ash
    The fight sequences are models of spatial coherency and escalating tension, and they grab you wholly, turning a movie into a full-body workout. That feeling dissipates whenever the fighting stops, the story cranks back up and somebody calls someone else “bro,” which happens too often.
  13. Counting Crows: Have You Seen Me Lately?
    Today, Duritz is a reflective figure. The documentary, directed by Amy Scott, will pull you back from any “pity the poor celebrity” eye-rolling with its revelation of his struggles with mental illness, which he endured, undiagnosed, during the ups and downs of early fame.
  14. David
    It can be a preachy and po-faced movie, to be sure, but a handsome one.
  15. The Housemaid
    Borrowing on certain familiar erotic thriller tropes — let’s all point and stare at the cray-cray lady — it does some back flips and corkscrews appropriate for our time and lands with a cathartic smack.
  16. Is This Thing On?
    If “Is This Thing On?” is sometimes too careful for its own good, it is also deeply trusting of its leads, whose faces, under the scrutiny of Matthew Libatique’s merciless close-ups, reveal the hurt the couple is unable to verbalize.
  17. The SpongeBob Movie: Search for Squarepants
    All of its head-spinning action has a stultifying effect. At all times, the film seems afraid that it’ll lose its audience’s attention, barraging us with the mindlessly zany to hold our engagement.
  18. The Voice of Hind Rajab
    As wrenching as The Voice of Hind Rajab is, there is something uneasy-making about turning a child’s harrowing cries for help into a pretext for metacinematic flourishes. Hind’s story does not need that kind of intellectualized gimmickry, in which recordings of authentic terror serve as proof of the staging’s verisimilitude.
  19. Dust Bunny
    At times, it can seem that Fuller is about to lose himself in the movie’s filigreed details, its curlicue lines, lush flowers and confectionary rest. In truth, I think he’s is sharing his delight in the imaginative possibilities of storytelling and in the plasticity of the medium itself, which is as infectious as it is welcome.
  20. Atropia
    The movie, written and directed by Hailey Benton Gates, wants to be a lot of things at once, including a satire and a dark rom-com. It bites off more than it can comfortably chew. However, the cast, also featuring Tim Heidecker, Chloë Sevigny and Channing Tatum, is charismatic and at times piercingly funny.
  21. Ella McCay
    Ella McCay is a bizarre movie that would have worked better if it went all-in as an homage to another era. Since we won’t get to see that version, you’ll just have to buckle up and enjoy the very strange ride.
  22. The King of Color
    We don’t need to hear about Herbert’s party years after his first marriage faltered. But he still had a cool idea, and his explanations of printing technology and color chemistry are almost enough to carry the film.
  23. Resurrection
    Strange describes the world of “Resurrection,” as does entrancing, tender, surprising, mournful and, at times, mystifying; it too is a labyrinth of a kind, one that Bi has filled with abrupt turns, elusive figures and shattering moments.
  24. Silent Night, Deadly Night
    Nelson may be throwing too much at the wall, but he does manage to make you feel something beyond just gross-out thrills.
  25. WTO/99
    It’s clear that the movie has a point of view; what’s most interesting, though, is the raw materials it employs.
  26. 100 Nights of Hero
    There’s just enough style and slyness to momentarily whisk one away.
  27. The Chronology of Water
    Imogen Poots’s fantastically expressive performance as the adult Lidia transforms this movie (the feature directing debut of Kristen Stewart) from punishing to mesmerizing.
  28. Endless Cookie
    In Endless Cookie, Seth and Pete Scriver’s kooky, grotesquely animated documentary, a rich oral history poetically blended with oddball comedy invites surprising political revelations.
  29. Happy Holidays
    The movie favors an unflashy presentation that allows its themes to emerge organically. But the interlocking structure, which owes more to the early work of Alejandro González Iñárritu than “Rashomon,” undermines sustained tension, and the dramatic architecture is slightly wobbly.
  30. Jay Kelly
    Inevitably, the results do not quite cohere narratively or tonally. But the film still has a strange, old-fashioned charm. You can’t really imagine anyone other than Clooney playing Jay, but Sandler is equally good; he brings a pathos to Ron, a man who has perhaps loved not wisely but too well.
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