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. Decorado
    Vázquez’s deadpan directorial style, which occasionally swerves into grim spoofs of Looney Tunes-style antics, perfectly suits the animated dystopia.
  2. Obsession
    Barker shows real promise as a horror storyteller; his instincts about when to hold back and when to plunge the knife are scalpel sharp. If only the sexual politics at play in Obsession didn’t feel so callow.
  3. Remarkably Bright Creatures
    While being cynical about a wise-octopus movie is probably unfair, being bored by it isn’t great, either.
  4. Swapped
    Pelage and plumage noticeably lack the tactile quality of a Pixar extravaganza, but the animation gets a pass for the movie’s purposes — namely, to impart a message that communities should trust each other, whether they’re covered in rotely-rendered feathers or fur.
  5. Animal Farm
    There’s a reasonably OK movie somewhere inside Animal Farm, but it’s drowning in ideological confusion, which wouldn’t be such a big deal — one rarely asks children’s cartoons featuring talking pigs to be wellsprings of thoughtful political theorizing — except that this is “Animal Farm.”
  6. Deep Water
    This picture is not as ridiculous as a “Sharknado” movie — Harlin is out to make a genuine nail-biter, and he largely succeeds, maintaining interest even as the two-hour mark approaches. But it’s not enough to make you genuinely afraid to go into the ocean this summer.
  7. Apex
    This Netflix thriller is a fun-enough time that is elevated by the performances of predator and prey.
  8. Fuze
    Despite a plot (by Ben Hopkins) bursting with double- and triple- crosses, the movie feels programmatic, its characters bland cogs in a Rube Goldberg machine.
  9. Omaha
    I was left befuddled about the movie’s message and, indeed, what I was supposed to make of the whole thing. That’s frustrating, and it’s not the sort of feeling you want to have when leaving a movie like this; it overwhelms whatever impression the rest of the movie might have left.
  10. I Swear
    Jones has turned a life into a hackneyed survivor’s story with cartoon villains, cardboard saints, pretty scenery, mewling piano notes and expedient, drama-goosing epiphanies.
  11. Over Your Dead Body
    Intentionally juvenile humor can have a way of breaking down even the stoniest viewer with the right levels of sincerity and self-awareness, but the film (a remake of the Norwegian thriller “The Trip”) is too slick and giddy about its own crudity to nurture these elements.
  12. Balls Up
    There are slapstick foibles, sight gags about rubbers, and many, many vulgar jokes — some good for a laugh, though I doubt the film’s Oscar prospects.
  13. Normal
    Normal — which heralds, according to the press notes, the birth of yet another franchise — navigates its cartoonish excesses with expected competence. As for Odenkirk, he’s golden; as mythology nerds will recall, Ulysses was also known as the Master of Cunning.
  14. Mother Mary
    The downer here is that Lowery doesn’t seem to know what to do with his stars, performers who are never better than when they’re just doing what they do best — you know, acting.
  15. Lee Cronin's The Mummy
    Cronin thrills as ever to luscious gross-out scenes.
  16. You, Me & Tuscany
    To sell its brand of wish fulfillment, the film relies almost entirely on the charisma of its leads.
  17. Newborn
    Parker the writer has tended to overload his screenplays with messages. He does some of that here, as well. Parker the director, however, is gifted with crews and capable actors and that shows, too. The members of his ensemble — especially Oyelowo — find ways to keep us guessing, and caring, to the end.
  18. The Travel Companion
    There is charm in the film’s allusions to New York City indie filmmaking, like the crew member who fibs that he’s shooting a mayonnaise commercial. But that specificity does not extend to Simon and Bruce’s bond, which consists of parallel play or the odd story about getting too stoned.
  19. Bunnylovr
    Bunnylovr, the first feature from Katarina Zhu, touches on various themes, none of which feels fully realized. Yet there is such a sweet symbiosis between Zhu’s intimate, easy directing style and her unselfconscious performance in the lead role — beautifully illuminated by Daisy Zhou’s gentle cinematography — that the movie’s aimlessness rarely grates.
  20. The Blue Trail
    Alas, Tereza, whose interior life remains largely obscured from start to finish, isn’t a compelling vessel for whatever Mascaro is trying to do in this movie. And, as it drifts from one place to another, one encounter to another, one sketchy idea to another, so may your attention.
  21. A Great Awakening
    It’s an earnest account of a religious movement that still resonates — Whitefield’s practice was instrumental in the growth of the Methodist church, and his sermons and lectures are still in print today.
  22. The Drama
    Zendaya and Pattinson are both enjoyable to watch, but she’s given too little to do and he’s given too much.
  23. The AI Doc: Or How I Became an Apocaloptimist
    The result is less clarifying than bewildering, though it’s often very interesting.
  24. BTS: The Return
    This is, in short, as polished as you would expect of a work about a pop behemoth, a companion piece to their new album that’s less a revelatory look at the meaning of their time away than a sentimental welcome back for the group and its fans. For the BTS Army, that’s likely more than enough.
  25. Our Hero, Balthazar
    So many details in this comedy-drama (a characterization worth quibbling with) are meant to provoke. And Our Hero, Balthazar teases with the promise of a darkly intelligent film. Not unlike its protagonist’s tears, the effect is dismayingly performative.
  26. A Magnificent Life
    There’s more to love in the details than in this overloaded sprint through history, which the film frames from the perspective of an aging Pagnol as he talks to a phantom version of his younger self and attempts to begin writing his memoirs.
  27. Forbidden Fruits
    Though Reinhart and Pedretti chew through the scenery with dedication, the film, directed and written by Meredith Alloway, is a vibes-only pastiche that has little to add to the satirical queen-bee subgenre besides some updated slang.
  28. They Will Kill You
    A case in which a production designer and prosthetics team showed up for work but the screenwriters might as well have crowdsourced their ideas from fanboys.
  29. Dhurandhar The Revenge
    The first installment’s critics might think this sequel further desensitizes viewers to violence along national or religious lines. It’s a movie of the current moment, which isn’t exactly a comfort.
  30. Dead Lover
    It’s too much yet not enough.
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