The New York Times' Scores

Select another publication »
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
view
per page
  1. Mr. Bachmann and His Class
    This isn’t a heroic-teacher drama about idealism in the face of adversity. It’s an acknowledgment of the hard work of learning, and the magic of simple decency.
  2. Strawberry Mansion
    This is a movie about letting the mind roam.
  3. Cyrano
    From the moment Cyrano enters the action, his charisma and intelligence are on splendid display, and Dinklage — jaunty, melancholy, sly — takes possession of the movie. But that means that the argument on which the drama depends is over before it has even begun.
  4. Studio 666
    No one tries for anything mightier than put-on dumbness because that’s the outer limit of where the acting, writing (by Jeff Buhler and Rebecca Hughes) and directing (by BJ McDonnell) can take this premise. It’s fun, nonetheless, to catalog everybody’s imperviousness to embarrassment.
  5. Inspector Ike
    It’ll work best with viewers whose funny bones are of the dry variety.
  6. The Automat
    If anything, The Automat seeks to burnish the mystique — it won’t be hijacked by social politics even if the company’s stance in such matters appeared to be the right one. The movie opts for a starry, top-down vantage.
  7. Fistful of Vengeance
    Without tactical, philosophical or emotional grounding, the battle scenes don’t land with any cinematic force.
  8. Texas Chainsaw Massacre
    In David Blue Garcia’s Texas Chainsaw Massacre the blade is more active than ever. But while Leatherface, the homicidal head case who fashions masks from the skin of his victims, might be busier, his ability to scare has waned considerably.
  9. Uncharted
    At least give Sony credit for recycling. That is the best that can be said for its nitwit treasure-hunt movie Uncharted, an amalgam of clichés that were already past their sell-by date when Nicolas Cage plundered the box office in Disney’s “National Treasure” series.
  10. Downfall: The Case Against Boeing
    It is likely to leave viewers shaken, and it is always comprehensible, even in sequences that illustrate what the pilots saw in the cockpit.
  11. Ted K
    The film is a tad reductive, leaning too heavily on currently fashionable explanations for why lonely white men resort to violence. But Stone makes up for it with some magnificently eerie moments.
  12. A Banquet
    You’re likely to leave this film starving for answers, but that hunger can be just as stimulating as it is burdensome.
  13. Taste
    There’s something here. It’s just undercooked. The cinematic philosophy around these minimalist hallucinations comes down to whether the images ought to amount to anything, as they always do with Weerasethakul and almost always with Reygadas.
  14. For Lucio
    This isn’t “Lucio for Beginners” by any means. Nor is it a greatest-hits anthology or a “behind the music” tell-all. It’s a tribute and an invitation to further research.
  15. Dog
    Dog is unabashedly sentimental. A movie about a dog and a soldier could hardly be otherwise. Luckily, Tatum’s self-deprecating charm and Carolin’s script keep the story on the tolerable side of maudlin.
  16. Icahn: The Restless Billionaire
    The perspective — while producing something eminently watchable — may strike some viewers as old-fashioned and incomplete.
  17. Oscar Peterson: Black + White
    “Black + White” does feature plenty of Peterson’s music, including several cover renditions performed in tribute for the film by a contemporary ensemble. But at almost every opportunity, Avrich undermines these numbers by cutting to one of an endless lineup of talking heads, usually to repeat predictable platitudes about Peterson’s brilliance.
  18. Somewhere with No Bridges
    Even as Frank keeps questioning and exploring, Madeiras and the full sweep of his life remain as out of focus as this documentary, an essay without a coherent thesis.
  19. Playground
    This is the first feature from the writer-director Laura Wandel, and it’s a knockout, as flawlessly constructed as it is harrowing.
  20. Tall Girl 2
    The plot is scattershot; the drama ant-size.
  21. The Unmaking of A College
    The closing titles say Nelson “would not agree to be interviewed.” While others try to explain her perspective, her nonparticipation leaves an unavoidable hole. And the testaments to Hampshire’s distinctive academic culture aren’t especially germane.
  22. Worst to First: The True Story of Z100 New York
    The movie’s prefab on-screen graphics are just one reason “Worst to First” has such a limp tone overall.
  23. Bigbug
    Despite some snappy ideas (an aggressive advertising drone pushing products as answers to the family’s every problem), Bigbug is overdressed, overlong and diminishingly amusing
  24. The In Between
    This mawkish plot might be tolerable if its characters were more likable; instead, they are pretension personified.
  25. My Best Friend Anne Frank
    Clinging to Hannah’s naïve viewpoint and the cherished ideal of her friendship with Anne results in some hard truths being hidden away or oddly sanitized.
  26. The Fabulous Filipino Brothers
    Every frame is flush with warm, saturated color, and the vibrant quality of the images conveys joyous generosity. The most poignant appeal of this movie is the feeling it creates of being welcomed into a family that radiates all things bright and good.
  27. The Pact
    Neumann’s baroness is grandiose and transfixing (as are Anne-Dorthe Eskildsen’s handsome costumes).
  28. Marry Me
    Marry Me is a sad tale that’s too busy leaping from plot point to plot point for Lopez to express anything close to real. It tells a lot and shows nothing.
  29. Catch the Fair One
    The nexus of racism, patriarchal power and sexual exploitation gives Catch the Fair One a pulse of righteous anger, and Reis’s charisma — her willingness to show fear as well as resolve — makes Kaylee a magnetic protagonist.
  30. Indemnity
    A South African thriller haunted by the ghosts of many Hollywood blockbusters past, Indemnity trades plausibility and originality for a worthy substitute: a great deal of fun.
Page:

Top Trailers

See all »
See all trailers »