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. André Is an Idiot
    He can’t be irreverent about his impending death forever, but it’s oddly uplifting to see him so committed to trying — while encouraging every viewer to get a colonoscopy.
  2. Heel
    Infused with the D.N.A. of Kubrick’s A Clockwork Orange (1971), Heel is an uneasy study of subjugation and transformation. Rock-solid performances from Boon and Graham maintain its precarious balance between anxiety and absurdity.
  3. Hoppers
    It’s a fable, really, with a science-nerd edge and some charming animal friends. You could do a whole lot worse at the movies.
  4. The Napa Boys
    The humor is over-the-top and often exaggeratedly juvenile, but like many nominally “dumb” comedies, it’s the product of a keen and deliberate intelligence.
  5. Youngblood
    “Hockey will teach you what you need to know about life” is a cliché, and while Underwood’s delivery of the line almost redeems it, James’s work makes you believe it.
  6. Protector
    While the final twist adds some depth to its madcap revenge plot, it’s Jovovich who keeps the film’s moodiness from unintentionally playing for laughs.
  7. The Bride!
    It doesn’t always make sense tonally and intellectually, but the whole thing is energetic, handsome and stocked with enough expert, appealing performers to hold your interest through the rougher, less coherent passages.
  8. Idiotka
    The American dream gets a quirky wardrobe upgrade in Idiotka, a lightweight but winning comedy that feels like a Netflix movie’s indie cousin.
  9. Ghost Elephants
    Ghost Elephants resides in the intersection of science and lyrical reverie — Herzog’s treasured terrain.
  10. Dreams
    Dreams might feel distant and frosty, but it has a lot to say about inequality and the prerogatives of privilege.
  11. In the Blink of an Eye
    With In the Blink of an Eye, Stanton is juggling quite a bit, including many landscapes to create and a lot of imagination for exploration. While the visuals are not exactly eye-popping, the movie is plenty serviceable.
  12. K-Pops!
    It has its momentary charms, mostly when it’s just .Paak and Rasheed riffing off each other, with the buoyant chemistry of a real father and son, or, when we see .Paak be less BJ under K-pop’s bright lights and more himself, just the artist with a mic and a set of drums.
  13. Scream 7
    The results are, by turns, amusing and lightly scary, though never truly surprising.
  14. The Inquisitor
    Tucker wisely front loads clips of Jordan (with some texts spoken by Alfre Woodard in voice-over). Jordan seems to be speaking to us today as a voice of conscience and reason in a nation in crisis struggling to fulfill its promise.
  15. EPiC: Elvis Presley in Concert
    It’s a fan’s dream, to be sure. But in getting so close to a man who has so often been turned into a caricature, “EPiC” goes beyond just the concert: We enjoy both the performance and the man who loved nothing more than to perform.
  16. Psycho Killer
    When it comes to this Dumpster’s worth of horror nothingness, that’s the inescapable question, translated into English: What is it?
  17. The Dreadful
    The knight might represent the contagion of human evil, and Anne’s story a journey of proto-feminism, but for all its big themes, the most resonant is the film’s title.
  18. I Can Only Imagine 2
    Ventimiglia becomes the sequel’s saving grace.
  19. Midwinter Break
    The saving grace of Midwinter Break is the pair of stellar leads, who would be appealing to watch just fumbling for their reading glasses. That also happens to be the pinnacle of action, however, within this prosaic drama.
  20. How to Make a Killing
    The story and the actors make How to Make a Killing easy to drift along with, even if it never coheres tonally, logically or, really, any which way.
  21. Billy Preston: That's the Way God Planned It
    As tough a life as Preston had, the music that buoys this chronicle is a constant source of joy.
  22. Joe's College Road Trip
    There’s a reason that “Road Trip” is premiering in the middle of Black History Month. While expansively anarchic to a fault, the movie’s anger, and its pride, is convincing.
  23. By Design
    Kramer has constructed an ironically detached artifact that invites questions about ownership and image and then bats them away, making it a frustrating experience with an intriguing veneer.
  24. Crime 101
    Like lovingly warmed leftovers, it has its satisfactions: a charismatic cast, evocative Los Angeles location work, the sort of granular details on diamond couriering and insurance valuation that might give impressionable viewers ideas.
  25. GOAT
    It’s a story with few surprises and mostly rudimentary emotional concepts, but is enlivened by artwork with colorful texture and a dynamic animation style.
  26. Good Luck, Have Fun, Don't Die
    It’s actually when the film returns to the main, quest-driven plot that the film lags, particularly around the middle; there’s just not enough interest among the team members and the action to sustain narrative tension, and the film feels like it loses its drive.
  27. My Father's Shadow
    It’s that sharp contrast of beauty with an undercurrent of pain that makes “My Father’s Shadow” so bittersweet, and it’s why it cuts to the quick.
  28. Scarlet
    “Scarlet” is peppered with a few exceptional moments of inspiration, but ends up caught in an awkward push-pull between Shakespeare’s text and the fantastical spaces where Hosoda’s vision extends.
  29. Wuthering Heights
    Robbie and Elordi hold your attention well enough, though they’re more persuasive apart than when they’re together.
  30. Nirvanna the Band the Show the Movie
    While much of this is muddled and repetitive, it is also now and then slyly amusing.
  31. Cold Storage
    A B-movie throwback with plentiful winks, it has few thrills, but it has a touch of science, a plausible-enough threat, suitably disgusting splatter, appealing actors and a fleet running time.
  32. Queen of Chess
    Kennedy sticks largely to conventional documentary techniques for Queen of Chess, which is not a bad thing: It’s a good story, well told, and Polgar makes for an interesting subject.
  33. Sirât
    It’s a sincere, mesmerizing and admirably unorthodox film that, by turns, invites your love and tests your patience. It demands attention and generosity from you, including toward characters who can be tough to tolerate, much less care about. They and the movie can be maddening, even when it’s impossible to look away.
  34. The Strangers: Chapter 3
    Now that the third and mercifully final film has flumped into theaters, this empty trilogy offers few worthwhile returns other than well-duh horror lessons that should (but won’t) sink in: Leave good horror alone, and relentless cat-and-mouse games do not a movie make.
  35. Calle Málaga
    The viewer might think, Ah, it’s going to be one of those films where the hero’s resistance softens as she meets a quirky collection of fellow residents. It is not. The Moroccan director Maryam Touzani and her husband, Nabil Ayouch (“The Blue Caftan”), who wrote the script with her, have something more delicate in mind.
  36. Jimpa
    The men give Jimpa a warm, intergenerational quality, gesturing at the power of queer family over time. If only the film didn’t ask the audience to invest in so very many subplots; the clutter ends up sucking the air out of all of them.
  37. Dracula
    The movie’s intermittent flippancy is its lifeblood, with Christoph Waltz’s cheeky vampire hunter delighting even when he seems to be off doing his own thing.
  38. Kokuho
    Even as it periodically languishes, the film comes back around, with some moving flourishes, to stamp its idea: To witness these vicissitudes over a lifetime, is to see the beauty, bloodshed and loneliness of true artistic greatness.
  39. Pillion
    With immense sensitivity, the screenwriter and director Harry Lighton, making his feature debut, stages sequences that deepen the characters and expand our understanding of their lives.
  40. The President's Cake
    It’s a striking, mature debut.
  41. Melania
    Much like the dress that Mr. Pierre designed for her — a white number whose bold black zigzag obscures all of its seams — Mrs. Trump seems exceptionally good at keeping hidden how everything, her marriage and family included, fits together.
  42. Natchez
    Maybe telling the whole story doesn’t mean living happily ever after, but at least it can mean being a little wiser.
  43. Islands
    There’s a refreshing willfulness here to leave some quandaries lingering, and like the rough beauty of the volcanic island the movie is set on, Islands beckons and rebukes and beckons some more.
  44. The Love That Remains
    The landscape in which this family makes its domestic life is wild and lovely, and Palmason signals the changing of the seasons by showing us all of its beauty: the snow and ice, the sunshine and greenery, beautiful skies, placid water. The weather can be both delightful and harsh, warm and chilly, and that’s mirrored in the characters.
  45. The Moment
    The Moment lights on substantive subjects throughout, yet partly because it’s about one individual’s ostensible struggles rather than the larger system, its bite is toothless.
  46. Moses the Black
    A high-strung, faith-based hood drama, Moses the Black has admirable intentions but lacks precision.
  47. Paying for It
    Paying for It keeps its narrative tight, perhaps overly simple. There’s space to savor the retro intimacy, amplified by the film’s striking primary colors and lo-fi rock soundtrack. Lee — while only gesturing toward the complexities of open arrangements — captures Chester and Sonny in a fleeting time that feels soft, but not shy.
  48. A Poet
    The writer and director Simón Mesa Soto skewers with knowing precision a kind of devotion to the creative life — without much of the creating — that renders one useless in the real world. The allure of the image of the tortured artist can be so enticing that it obscures the actual art.
  49. Send Help
    Send Help may not be peak Raimi (that, to my mind, would be A Simple Plan), but it’s Raimi at peak pulp. I’ll happily take it.
  50. Worldbreaker
    Directed by Brad Anderson, Worldbreaker is committed above all to shortchanging its themes, along with excitement and visual interest, a showy Steadicam shot notwithstanding.
  51. Shelter
    The spy-versus-spy scenario set out by the screenwriter Ward Parry isn’t going to give the maestro Mick Harron (“Slow Horses”) any sleepless nights. But as a vehicle for Statham’s bone-breaking escapades, it’ll do. And the story avoids some of the expected clichés.
  52. The Wrecking Crew
    The action in The Wrecking Crew is so good, its fights so brisk and its car chases so lively, that it makes you wish its muscular leads, Jason Momoa and Dave Bautista, had starred in more decent action movies.
  53. Mr. Nobody Against Putin
    The documentary tries to heighten the stakes of Talankin’s story by casting his efforts under a pall of danger, dread or distress. But these bids for drama are far less persuasive than the horrifying raw footage Talankin captures, such as one scene in which young students are coached to march down a hallway, as if preparing for battle.
  54. Disneyland Handcrafted
    Delving into company archives, the director (whose grandfather, the animator Ub Iwerks, was a crucial contributor to early Disney films) has composed an official story, but one that wisely avoids “why this matters” talking-head commentary. Disneyland Handcrafted is instead an immersive bit of time travel.
  55. In Cold Light
    A depressing, downbeat thriller that hustles from one violent act to the next with only the flimsiest of narrative throughlines, the latest from the French Canadian director Maxime Giroux is an unfortunate misfire.
  56. H Is for Hawk
    What does work about H Is for Hawk (aside from Mabel, whose presence is enough to recommend the film) is its refusal to make grief facile or tidy, or to proclaim that healing must look the same for everyone.
  57. Return to Silent Hill
    “Return” cranks the chaos factor up several gears. Maybe that’s a logical shift for a franchise about a creepy New England town that jostles its visitors around multiple planes of reality. Though, here, it’s not as fun as that sounds.
  58. Mercy
    A witless, thrill-free hodgepodge of shinily packaged action-thriller clichés.
  59. Seeds
    Though Seeds is a lyrical portrait of a way of life, it also harbors an urgency that’s very much of our moment.
  60. The Rip
    Damon is the only one keeping his head above water, mostly because he’s the only one given the space to make decisions and navigate different dynamics. Everyone else is trapped in a kiddie game of cops and robbers.
  61. Deepfaking Sam Altman
    Give Bhala Lough credit: His film simultaneously illustrates the deficiencies of generative A.I. and the dangers of investing in it emotionally, while remaining annoying and self-amused in a distinctly human way.
  62. Night Patrol
    The lumbersome conspiracy-building in the front half, paired with flashy visuals and some performances fitting for a crude stoner comedy, make this a bleary experience overall.
  63. A Private Life
    The intrigue is far-fetched and surprising — this is one movie you can’t write in your head — and delivered with increasing winks and charm.
  64. Shuffle
    While some institutions are legitimate, Shuffle, a shocking and confounding new documentary directed by Benjamin Flaherty, lays out in painstaking detail the collusion between moneymaking rehab treatment centers, double-dealing insurance entities and predatory social-media “scouts” who make sure cash flows into corporate pockets while the sick and suffering never get well.
  65. Sound of Falling
    Here is a movie whose atavistic excursion through time transfixes, even as its psychology remains as fuzzy as a photograph smeared by motion.
  66. A Useful Ghost
    This dazzling first feature from the Thai filmmaker Ratchapoom Boonbunchachoke uses the frame of a sad-sweet sex comedy to weave together political allegory, supernatural mystery and more than one tender love story. And he does this with such skill and bravado that you never see the seams.
  67. All You Need Is Kill
    By narrowing the scope and condensing the logic of the action, this film undermines the excitement of the story, so even the day of an alien apocalypse starts to get tedious. That’s a great misfortune given the movie’s funky style.
  68. 28 Years Later: The Bone Temple
    DaCosta’s talents as a director are a terrific, confident match for this material.
  69. People We Meet on Vacation
    Occasionally cute and almost instantly forgettable, “People,” tidily directed by Brett Haley, offers less-than-witty dialogue.
  70. All That's Left of You
    In depicting scenes of dispossession and fraught encounters with soldiers, the filmmaker offers a saga of trauma that has antecedents in dramas set during previous mass conflicts like Apartheid as well as in the Jim Crow South. If that strikes you as pointed, it is.
  71. Dead Man's Wire
    When Dead Man’s Wire ends with footage of the real Kiritsis and Hall, it is hard not to conclude that a much crazier, livelier film could have been made.
  72. Holding Liat
    Kramer quietly but forcefully recognizes that the conflict cannot continue as it has.
  73. My Neighbor Adolf
    While the lead actors are clearly committed, the movie gives them little to do besides exchange verbal invective.
  74. OBEX
    There’s something smarter between the lines about the way technology warps our (self-) perception, but maybe that’s giving too much credit to a film so giddy about its warping. That’s not totally bad: Some films are like dreams whose meanings never materialize.
  75. Young Mothers
    Because of the ensemble structure, each tale is interrupted by another, so “Young Mothers” lacks some of the suspense that powers many of the Dardennes’ other films. Yet that slower pace allows a tenderness to develop, and the tension between the girls’ youth and newfound maternal instincts to emerge.
  76. Magellan
    The most arresting way that Diaz telegraphs, though, is through the sheer beauty of his images. The movie is often visually intoxicating, at moments gasp-out-loud ravishing, especially in its presentation of the natural world, which can have a soft visual quality that deepens the sense of otherworldliness.
  77. Greenland 2: Migration
    Ric Roman Waugh’s movie is a notable step up from the first film. The Garritys’ traversal across the treacherous North Atlantic Ocean and dashes past marauding bandits in Europe make for real human stakes.
  78. The Mother and the Bear
    Like any decent soap, The Mother and the Bear is powered by human dramas that are contrived, silly and ultimately a little weird. But what actually happens belie what is in execution a relatively sedate story about the spoken frictions and unspoken secrets between mother and daughter, father and son.
  79. We Bury the Dead
    We Bury the Dead is most haunting when it gestures at a world dazed with trauma and explores a path to personal closure through collective efforts.
  80. The Dutchman
    As with the play (and its 1967 film adaptation), the sexual politics here are messy. What isn’t is the filmmakers’ bold dive into the archives of the nascent Black Arts Movement for a throughline.
  81. 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.
  82. Goodbye June
    The story, about a dying matriarch and her stricken adult children, paints by numbers with stock characters and cloying scenarios.
  83. Father Mother Sister Brother
    The third segment, “Sister Brother,” is so lovely it prompts reconsideration of the first two.
  84. 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.
  85. The Choral
    A moving account of music as a way of coping with war, as well as keeping it at bay.
  86. 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.”
  87. 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.
  88. 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.
  89. 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.
  90. 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.
  91. Cover-Up
    Cover-Up is a model of efficient, engaging documentary filmmaking; it looks good, for starters, and it moves energetically.
  92. 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.
  93. 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.
  94. David
    It can be a preachy and po-faced movie, to be sure, but a handsome one.
  95. 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.
  96. 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.
  97. 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.
  98. 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.
  99. 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.
  100. 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.
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