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. Halloween Ends
    Green has made a movie that’s less frantic and more intimate than its predecessor, one that unfolds with a mourning finality.
  2. The Same Storm
    It’s a well-intentioned gesture of solidarity that tries so desperately to be relatable, it feels alienating.
  3. Sepa: Nuestro Señor de los milagros
    It’s a provocative addition to the literature of incarceration.
  4. The Other Tom
    The film, directed by Laura Santullo and Rodrigo Plá, ultimately falls flat, with unconvincing dialogue and a strained delivery by the actors.
  5. Eternal Spring
    While the animation gives the documentary some distinction, the narrative can’t entirely shake the sense that this momentous but brief episode is scaled more for a short than a feature.
  6. Sell/Buy/Date
    Jones — who wrote, directed and stars in the film — doesn’t treat the tensions between exploitation and empowerment, personal agency and systemic cruelties, as binaries. Instead, they are riveting, confounding and, as exchanges between Jones and her mother attest, personal.
  7. Stars at Noon
    The results are sometimes wobbly, but this much remains stable: No living director better understands the politics of sensuality, the terrible power of light and shadow on skin.
  8. Battleground
    The documentary is a cookie-cutter presentation intent on showing viewers how leaders of the anti-abortion movement have managed to advance their goals and consolidate power by mobilizing an evangelical minority.
  9. Last Flight Home
    “Last Flight” is at once a memorial to Eli, the last of that generation of the family to die, and — almost incidentally — a philosophical argument about how death can be faced well.
  10. Pretty Problems
    An overlong, undercooked comedy of manners about how, yes, indeed the rich are different.
  11. The Visitor
    Filmed in and around New Orleans, “The Visitor” isn’t a terrible movie, just a tired one.
  12. Hinterland
    If only the story of Hinterland felt as engrossing and alive as its setting.
  13. Luckiest Girl Alive
    Kunis’s alpha female appears at once ferocious and like a conspicuous sham. (Imagine Sheryl Sandberg as a “Scooby-Doo” villain.) Her performance carries the film — a fortunate break for the director Mike Barker, who has the near-impossible challenge of shepherding the tone from snark to painful sincerity.
  14. Significant Other
    Significant Other does not reinvent the genre, but its narrative flourishes make for an exciting outing.
  15. The Swimmer
    Kalderon and the cinematographer Ofer Inov make Adonises out of the film’s athletes, but the film goes beyond mere marble-body ogling in its equal attention to the physical, psychological and emotional toll that training takes on Erez and Nevo.
  16. Onoda: 10,000 Nights in the Jungle
    The light provides wordless, and conveniently apolitical, explanation for why a person might endure nearly three decades (or in cinematic terms, nearly three hours) without action.
  17. Piggy
    Pereda, who also wrote the script, is not afraid of psychological and moral ambiguity: It’s obvious that she is on Sara’s side — the bullying scenes are much harder to watch than the bloody ones — but she also knows that shame, guilt and secrecy fester into messy situations and messy people.
  18. Hellraiser
    As an ambitious allegory for the chaos and torment of addiction, Hellraiser works mainly because of A’zion, who gives her scattered character a deeply human desperation.
  19. Mr. Harrigan's Phone
    There’s a bittersweetness to Craig and Harrigan’s friendship and good chemistry between the leads.
  20. Lyle, Lyle, Crocodile
    "Lyle” has a brisk, whimsical momentum that is utterly infectious in the early going. Then it stops dead.
  21. Triangle of Sadness
    This, in the end, is a very bad movie, executed with enough visual polish and surface cleverness to fool the Cannes jurors, something Ostlund has done twice. Shame on them! But maybe we shouldn’t be surprised.
  22. TÁR
    To search the movie for a consistent argument is to miss the point and fall into a category error, misconstruing the extraordinary coup that Field and Blanchett have pulled off. We don’t care about Lydia Tár because she’s an artist; we care about her because she’s art.
  23. To Leslie
    The director, Michael Morris, knows from the start what movie he’s making: one that robs us of our easy assumptions about who Leslie is. She’s unbearably flawed, and the screenwriter Ryan Binaco explains why without forcing long beats of exposition upon the viewer.
  24. The Redeem Team
    The movie, directed by Jon Weinbach, offers several eye-opening mini-narratives on the way to a rematch with Argentina.
  25. My Best Friend's Exorcism
    The film repeatedly undercuts whatever tension is mustered with its frustrating tendency to crack goofy, juvenile jokes.
  26. Bros
    Bros is hyper-conscious that it’s a landmark built on a fault line. No matter how many ideas it crams into its quick-paced plot, it’s doomed to fall short of representing an entire group of people — and it knows it shouldn’t have to. As such, Eichner’s challenge makes for a conflicted Cupid.
  27. InHospitable
    InHospitable is a decent advocacy documentary that compellingly argues a couple of points that aren’t easy to make compelling onscreen.
  28. I Didn't See You There
    With his feature, Davenport stakes out his own vantage point on the world, one that leaves a viewer wishing to hear his thoughts elaborated even further.
  29. Ten Tricks
    Despite her strong effort, even Thompson can’t deliver the film’s attempt at a three-dimensional female protagonist. There is truly no magic here.
  30. From the Hood to the Holler
    Though Booker’s story and success are inspiring, the documentary falls flat, feeling more like a political tool than a commentary on the state of politics in Kentucky.
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