The New York Times' Scores

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For 20,324 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: 9,408 out of 20324
  2. Mixed: 8,449 out of 20324
  3. Negative: 2,467 out of 20324
20324 movie reviews
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  1. The Devil Queen (1974)
    De Fontoura, 86, has an assured hand for both hand-to-hand combat and queer aesthetics. (Ângelo de Aquino’s high femme costumes are scandalous.) But the more character-driven scenes drag, at times stopping the film’s pleasures cold with slack dialogue. Still, Gonçalves — a rageful, heartbreaking gangster — and the film he dominates are must-sees for fans of under-the-radar queer movie history.
  2. Never Change!
    It’s not just that the jokes fail. It’s that Reynolds’s hollow script doesn’t seem to know what it wants to say with them. The few bits of comedy that do land offer genuine insight into the collision of past and present.
  3. Voicemails for Isabelle
    The appealing Zoey Deutch is the best reason to watch Voicemails for Isabelle. Written and directed by Leah McKendrick (who also plays a small, amusing role), the movie begins as a tear-jerker and morphs into a rom-com with poignant notes.
  4. Color Book
    Daniels, an actor skilled at delivering hushed poignancy, shares a sincere rapport with Catlett, who furthers the film’s organic tenor with weary eyes that plead for one’s time and grace. His and Daniels’s steady work makes Color Book deserving of both.
  5. The Death of Robin Hood
    It is the sort of film to which you want to apply the word “visionary,” which is to say that it’s clear the filmmaker had a vision and stuck to it admirably. Nothing in the movie is easy or comforting. Little about it even feels like a gesture toward those enamored of other Robin Hood tales.
  6. Leviticus
    We know from innumerable slashers that when a character is alone, trouble is around the corner. But “Leviticus,” with its gloomy, isolated setting and dogmatic parents, manages to turn this vulnerability into an existential issue, too. To make matters worse, the only glimmers of human warmth our boys receive are from each other — and that opens yet another can of worms.
  7. Maddie's Secret
    Brimming with style and spirit up to the final scene, Maddie’s Secret is among the most daring movies I’ve seen this year. That it simultaneously guarantees a giddy good time is a minor miracle.
  8. Rose of Nevada
    From a perspective of pure atmosphere, this is arguably the most mesmerizing film of the year thus far.
  9. Unidentified
    While decently absorbing, Unidentified eventually goes way more Hollywood than either of those films, with a plot that defies logic (raising issues of both structure and perspective) and undermines the movie’s message — unless the pulpy swerve is itself intended as a kind of statement.
  10. Toy Story 5
    It’s fine, pretty and amusing, but if no one’s heart seems in it, perhaps it’s time to make way for other toys.
  11. Girls Like Girls
    Kiyoko didn’t come by her fan-given nickname, Lesbian Jesus, for nothing. Like Kiyoko’s videos, the movie wants to create space for romantic deliverance.
  12. The Gas Station Attendant
    Murthy’s story as a child of immigrants is not particularly unique. But her film is engrossing because of the rich tapestry of sources she draws on.
  13. Honeyjoon
    These delicate mood-shifts are the film’s strength, sanding over (to an extent) the clunkiness of its themes to achieve a special balance: Honeyjoon is both a mourning movie, and a horny one.
    • 74 Metascore
    • 70 Critic Score
    I Am Frankelda
    I Am Frankelda can feel overstuffed with plotlines at times, but like a plastic jack-o’-lantern bucket overflowing with candy: bright, beautiful, spooky — and ultimately, a treat.
  15. O Horizon
    Sometimes it’s clear why a bad movie didn’t work: half-baked premise, poorly cast actors, janky editing, insufficient budget. Sometimes it’s less clear what happened. O Horizon is the second kind of bad movie, with a bonus element: Its existence gets more baffling as you realize what it really is.
  16. Promised Sky
    There is much to be said for [Sehiri's] unsensationalistic approach, and for its specificity of detail, even if splitting the narrative three ways means that each of these stories feels shortchanged.
  17. Stop! That! Train!
    With the same kind of sweetness and heightened stylization that he brought to “Hairspray,” the director Adam Shankman balances jokes for an in-crowd with the pleasures of spoofs like “Airplane!” and “Barb and Star Go to Vista Del Mar,” plus the appeal of seeing Joel McHale in a harness (one of the better star cameos, which also include Sarah Michelle Gellar and Charo).
  18. The Furious
    The Furious is a rousing piece of spectacle.
  19. Disclosure Day
    Steven Spielberg’s Disclosure Day is one of those movies that sweeps you up from the start and rarely lets you down.
  20. Earth, Wind & Fire (To Be Celestial vs. That's the Weight of the World)
    Thompson uses archival footage, contemporary interviews, and better-than-decent animation to construct a story that’s as much about White’s legacy — one that’s crucial to Thompson the musician — as it is about White himself. The Questlove-White connection helps the movie go deeper than a portrait by a nonmusician might have.
  21. Another World
    Through intricate 2-D hand-drawn animation and its overall commitment to tonal abstraction, the film manages to make Gudo’s journey sing.
  22. Jinsei
    An often miraculous and occasionally exasperating Japanese anime film.
  23. The Currents
    Instead of an exercise in alienation, Mumenthaler and her star, Isabel Aimé Gonzalez Sola, create a far richer search for self that effortlessly blends the psychological, existential and sociological.
  24. Carolina Caroline
    Like an acoustic ballad — say, Jason Isbell’s “Cover Me Up” that receives an auspicious needle drop — Carolina Caroline doesn’t seem all that remarkable until you hush and take in the lyrics. Suddenly, you’re swept up in big feelings.
  25. The Little Sister
    There is a tender exuberance to “The Little Sister,” which renders Fatima’s development from an uncertain, sullen high school student into a more confident young woman as just one step on a journey.
  26. She's the He
    McCarthy’s direction is assured and lively, so clearly a homage to the films, like “She’s the Man,” that inspired this one. Some flaws, such as actors past their teenage years that would never pass as high school students, just feel like part of the movie’s detachment from reality.
  27. Underland
    This is that rare movie that could do with a longer running time, which would, perhaps, give it greater depth.
  28. México 86
    One need look no further than “Marty Supreme” to see how Mexico 86 might have complicated the audience’s sympathies, but this straightforward crowd-pleaser doesn’t wish to see beyond Martín’s charm.
  29. Scary Movie
    The only welcome and consistent source of delight is whenever Hall gets to pop up onscreen, to squeal or beam in a way that is always funny, and enough to briefly take you out of the bit she’s trapped in.
  30. Office Romance
    Writers Goldstein and Joe Kelly (his “Ted Lasso”/”Shrinking” colleague) attempt to cram a streaming season’s worth of character zigs — Jodie Whittaker plays Daniel’s incarcerated sister, Amy Sedaris appears as a too-kind hotel housekeeper — into a two-hour film. Alas, the landing isn’t smooth.
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