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. The Mother
    Apart from some deadpan exchanges between the Mother and Zoe, Lopez plays the role fierce. Even so, it isn’t always clear which gestures in the film should be taken seriously, and which make sport of the genre’s masculine posturing while offering an allegory about a birth mother’s sacrifice.
  2. Monica
    Both Lysette and Clarkson are naturally magnetic actors, and they don’t waste the attention they’re given on excess sentimentality.
  3. BlackBerry
    A wonky workplace comedy that slowly shades into tragedy.
  4. Still: A Michael J. Fox Movie
    While this documentary draws on a standard tool kit of re-enactments and archival material, its best device is to use clips of Fox’s own movies as a counterpoint to his words, as if Fox weren’t playing fictional characters, but himself.
  5. It Ain't Over
    A lively, engaging and moving documentary.
  6. L'Immensità
    In dreams, he imagines himself and his mother as glamorous figures in a monochrome variety-show spectacle, poignant bouts of movie-magic that underscore both Andrew’s innocence and his sharpening intuition: Freedom, for the both of them, will mean upending reality itself.
  7. The Starling Girl
    A tender tale, The Starling Girl twirls through a spate of clichés — many surround Jem’s relationship to her alcoholic father, Paul (Jimmi Simpson) — but sticks the landing thanks to Parmet’s rapt attention to the shifting desires of her central character.
  8. Fool's Paradise
    There’s something grudgingly admirable about the voluble star essentially spending an entire film doing reactions. But it’s a disastrous move in a Hollywood satire that already needs to be more than a grab bag of jokes.
  9. Dealing with Dad
    The film is at its most compelling when tackling this tension between care and resentment head-on — it has a ring of truth that’s sadly squandered whenever Huang reaches for easy laughs.
  10. Geographies of Solitude
    It is to the great credit of “Geographies of Solitude” that it never feels expository: It turns an ecology lesson, and an account of a noble, steadfast, single-minded pursuit, into art.
  11. Queens of the Qing Dynasty
    McKenzie doesn’t rely on the usual uplifting messaging and strained empowerment arc to humanize An and Star . . . Their friendship remains mysterious, yet the film, as if by witchcraft, makes their connection feel palpable and true.
  12. The Melt Goes on Forever: The Art & Times of David Hammons
    This is a substantial, patiently made, entertaining portrait, with a percussive, rhythmic jazz score by Ramachandra Borcar and some emphatic spoken word courtesy of Umar Bin Hassan of the Last Poets. But eventually, the rich interpretive consideration of Hammons’s essence, philosophy and process starts to vanish.
  13. What's Love Got to Do with It?
    A glossy lesson in how to pour nontraditional content into a traditional rom-com mold, Shekhar Kapur’s What’s Love Got to Do With It? shapes competing notions of happily-ever-after into comfort food.
  14. Guardians of the Galaxy Vol. 3
    Though this “Guardians” is certainly less fun than the others, there are still glints of joy in the more mundane and ancillary quibbles among the found family of misfits.
  15. Riceboy Sleeps
    Even while it’s hampered by these rough edges, the movie is terrifically scored and beautifully shot.
  16. Unrest
    The film punctures that airless sense of fate which can suffocate period pieces and restores this moment of upheaval to immediacy.
  17. Anxious Nation
    When it comes to the causes of this mental health crisis or the precise ways in which it manifests, the documentary falters, unable to distill its empirical material into insights.
  18. Slava Ukraini
    Artistic values aren’t really the point, which is to meet Ukrainians and to see different corners of the bombarded country, where residents, Lévy suggests, have in many cases become inured to the sight of a bombed office building or to the sound of warning sirens.
  19. You Can Live Forever
    You Can Live Forever sticks to a fairly common coming-of-age trajectory.
  20. Chile '76
    Chile ’76 is a sly genre exercise, an example of how political repression can squeeze a domestic melodrama until it takes the shape of a spy thriller.
  21. Centurion: The Dancing Stallion
    A formulaic family melodrama . . . which stars a stable of equine and human performers gamely mounting a Nicholas Sparks-like story line complete with romance across social classes, a conniving antagonist and grave health crises.
  22. Wynonna Judd: Between Hell and Hallelujah
    The film plays like a country song with more chorus than verse.
  23. Those Who Remained
    Those Who Remained leaves much unsaid about their pasts, sometimes at the risk of seeming coy (the word “Jewish” is never spoken). But Hajduk and Szoke are strong performers.
  24. Freaks vs. the Reich
    Its splashy, curiously filter-free adventures unfold in Italy and Germany during World War II, to sometimes awkward effect.
  25. The Restless
    Lafosse’s empathy as a director is admirable, but The Restless falls short of putting a compelling story to film.
  26. Four Quartets
    Fiennes brings the fire, yet the air around him remains unmoved, even by his embers.
  27. King Charles: The Boy Who Walked Alone
    If there’s one thing this movie demonstrates, it’s that whatever the actual function of said monarchy, it does give Britain’s taxpayers their money’s worth in drama if nothing else.
  28. The End of Sex
    In The End of Sex, parenthood appears to turn adults into babbling adolescents who blush and freeze up in the face of sexual opportunity. This dynamic is supposed to be cringe-funny, but over the course of an hour and a half, this staid farce proves otherwise.
    • tbd Metascore
    • 70 Critic Score
    Broadway
    Amid some uneven characterizations, the cast enlivens Broadway with their compelling performances, sealed by a stirring finale and a characteristically soaring score from Gabriel Yared.
  30. Clock
    Clock is a psychological thriller, or perhaps even a satire, in horror clothing, tantalizing us with thought-provoking ideas, only to abandon them: nature versus nurture, the influence of the wellness-industrial complex over minds and bodies, the oppressive expectations placed on women — including by themselves.
  31. Peter Pan & Wendy
    These well-meaning choices struggle to cohere into a satisfying picture.
  32. Winter Boy
    Winter Boy shines when it allows its actors to quietly play out family dynamics, with Lacoste, Binoche and especially Kircher wearing the many shades of grief with effortless, endearing naturalism.
  33. Nuclear Now
    The film’s aversion to formal or rhetorical bombast as it discusses scientists’ hopes for a better future is its own balm. We’re staring down catastrophe, Stone explains matter-of-factly, but our greatest tool is already in our grasp.
  34. Alan Pakula: Going for Truth
    Pakula’s work with actors or the resurgent meaning of his trilogy could have been documentaries unto themselves. But the viewer might not have gotten an adjacent set of insights from his family, particularly Hannah Pakula, his second wife. Her tender, incisive regard creates an ache even as it offers solace.
  35. Big George Foreman: The Miraculous Story of the Once and Future Heavyweight Champion of the World
    It’s a movie with its heart in the right place and its sense of drama nowhere in sight.
  36. Polite Society
    It’s a delight that borrows from everything — westerns, musicals, heist capers, horror, Jane Austen and James Bond — to build its writer and director, Nida Manzoor, into a promising new thing: a first-time filmmaker impatient to evolve cultural representation from the last few years of self-conscious vitamins into crowd-pleasing candy.
  37. R.M.N.
    The tame and the wild roam through R.M.N., nipping at its edges, adding visual texture and deepening its themes.
  38. The Eight Mountains
    The spiritual dimension of Pietro and Bruno’s bond has its appeal, and one of the movie’s pleasures is that it takes male friendship seriously. There’s an expressly erotic dimension to the men’s love for each other, as can be the case with intimate relationships, though not an explicitly carnal one.
  39. Are You There God? It's Me, Margaret
    The director-writer Kelly Fremon Craig’s rendering of the book about puberty, family and nascent spirituality offers lessons in how a cherished object, when treated with tender and thoughtful regard, needn’t turn precious.
  40. Sam Now
    Reed’s initial overeager stylings fall back to reveal a mature reckoning with love, hurt, independence, and hard-won wisdom.
  41. Sisu
    For all its gung-ho violence, the film never feels fraught or nasty enough: It never risks true offense or tastelessness, never takes a gamble on anything that could be interpreted the wrong way or that might sidestep expectations. Somehow it makes killing Nazis feel pretty tame.
  42. Ride On
    The film is so graceless and bizarre in its attempts at tugging at the viewer’s emotions that it often feels like a work of parody.
  43. Trenque Lauquen Parte II
    The pleasure lies in the telling — the invention of fictions, the performance of emotions — rather than in the details of plot. Once you lose yourself in the thickets of “Trenque Lauquen,” you won’t want to be found.
  44. Trenque Lauquen Parte I
    The pleasure lies in the telling — the invention of fictions, the performance of emotions — rather than in the details of plot. Once you lose yourself in the thickets of “Trenque Lauquen,” you won’t want to be found.
  45. Dry Ground Burning
    Pimenta and Queirós invent a world in which Brazilian women at the very bottom of the social totem pole take matters into their own hands. They do so without an ounce of fear or self-pity — and in killer style to boot.
  46. Twilight
    It’s a style so minimalist, it approaches maximalism — and this combination of pulp and precision creates an arresting and unique work of film noir.
  47. A Tourist's Guide to Love
    A rom-com that so scrupulously fulfills every cliché of the genre, it might as well have been devised by ChatGPT.
  48. Evil Dead Rise
    Lee Cronin, who directed Evil Dead Rise with many more colors of bodily fluid, is a meticulous creator of stunning shots. His camera doesn’t move. It dances, shifting, spinning, occasionally knocked on its side like a running back in a collision.
  49. Ghosted
    This tedious, unfunny, screamingly unoriginal romantic adventure film is so flimsy and so insubstantial that it’s practically vaporous.
  50. Other People's Children
    Zlotowski is telling a story about a specific woman. She’s also telling a complex, bruising, much larger and quietly self-aware story about both the messiness of life and the fragility of bodies that exist in the real world, not just in fantasies.
  51. Chevalier
    That this movie — directed by the Canadian filmmaker Stephen Williams and written by Stefani Robinson — leans too mightily on romance to the detriment of exploring more fully his genius feels like a missed opportunity.
  52. Little Richard: I Am Everything
    I Am Everything is content to be a thorough, energetic, largely chronological appraisal, more interested in saluting a musical legend who shook things up than in shaking up conventions itself.
    • 59 Metascore
    • 40 Critic Score
    Carmen
    They make for a film with elements of dance on camera, musical, of-the-moment melodrama and visual poetry — but without a thorough commitment to any one of those and few, if any, moments of coalescence.
  54. Judy Blume Forever
    Blume has always been an open book, despite the flurry of controversy around her. That may not make for the most exciting documentary, but it does make Blume herself even more endearing.
  55. Quasi
    It’s dumb fun that is at times entertaining, at times flat.
  56. Guy Ritchie’s The Covenant
    For all its clichés, this furious and discomfiting film tugs on your conscience for days, making a powerful case to turn the American public’s attention back to a conflict it would rather forget.
  57. Somewhere in Queens
    Here, Romano sticks to the outer-borough Italian American milieu of his series. The results are mixed.
  58. Plan 75
    Baisho gets across the creeping despair that morbidity and the loss of community can create — a sensation that lets Plan 75 double as a consummate entry in pandemic-era cinema.
  59. The Pope's Exorcist
    Avery (“Samaritan”) drives the film at a pace as caffeinated as Amorth himself, and manages to incorporate legitimate scares into a plot halfway between Indiana Jones and a Dan Brown potboiler, with camp touches worthy of Ken Russell.
  60. The Last Kingdom: Seven Kings Must Die
    The compositions lack clarity, the score of undulating voices is comically clichéd and the visual effects are a dingy, nauseating mess. There are no stakes in a film that not only takes seven royal lives — it snatches several brain cells with them.
  61. Honorable Men
    Honorable Men: The Rise and Fall of Ehud Olmert is a rare instance of a two-hour documentary that should have been an eight- or 10-hour mini-series, because it would take that long to clarify all the issues it raises, then present persuasive evidence.
  62. Imagining the Indian: The Fight Against Native American Mascoting
    In tuning the project to the key of advocacy, the directors have created a film to nod along with, not one that unpacks complexity.
  63. Personality Crisis: One Night Only
    A first-rate raconteur, Johansen — wearing a pompadour, sunglasses and bespoke suit — brings the funk. The storied Café Carlyle delivers the chic.
  64. Beau Is Afraid
    Despite these attractions and in spite of Phoenix’s aura and his focus — and how he plays with the character, opening Beau up a wee bit with flickers of yearning and teasingly humanizing fissures — it is tough to care about a mouse who matters so much less to the filmmaker than the shiny mousetrap where he’s imprisoned you both.
  65. Hilma
    Hallstrom wins the audience back with his sincere connection to af Klint, played in her bullheaded youth by his daughter, Tora Hallstrom, and in her muttering years by his wife, Lena Olin.
  66. Passion
    Passion has a low-fi, hangout feel, flush with the youthful indie energy and forgivable pretensions of an artist who believes that filmmaking matters. Hamaguchi is still a student but already finding his voice.
  67. Wild Life
    Kris and Doug’s moving love story should be the emotional foundation of the documentary, but it’s edited in a bit too late. Paradoxically, however, we also crave more scenes of their individual transitions from bohemians to business titans.
  68. Suzume
    It’s not just the drama that works. Shinkai delivers hilarious physical comedy in the awkward gambols and leaps of Souta the three-legged chair — a refreshing reversal of the trope of the handsome young love interest who leads the naïve girl on a journey.
  69. The Plains
    Fans of structural film, “Jeanne Dielman” and Google Maps will find much to treasure, even if the narrative elements — and occasional cutaways to imagery shot in a more remote area in western Victoria — upset the movie’s rigor and purposeful tedium.
  70. Tommy Guns
    It’s a stylized spectacle, and the effects can feel discordant. Conceição eventually chips through the horror genre enamel to expose a message about the futility of war, but the tale’s miscellany of moods dulls its ultimate power.
  71. Sick of Myself
    Each time we think Signe has hit her breaking point, she perseveres. It’s deadpan funny at first, but then gets disturbing. Her refusal to give up the act proves to be more sickening than her physical symptoms.
  72. Mafia Mamma
    Trite, charmless and entirely without grace, Mafia Mamma weaves a wearying string of Mob chestnuts into a shallow empowerment narrative.
  73. The Lost Weekend: A Love Story
    Whatever the truth of Ono’s manipulations in this affair — and Pang’s claims, including that Ono asked Pang to look after Lennon in an especially personal way, are at times hair-raising — they tinge this saga with a resentment that’s off-putting.
  74. One True Loves
    Basic storytelling components are also ignored, as if entire scenes are missing, so that One True Loves, directed by Andy Fickman, stumbles even as a piece of Hallmark sappiness.
  75. Blind Willow, Sleeping Woman
    It works well as a visual companion for fans of the author’s work, and as a flawed enigma for everyone else.
  76. De Humani Corporis Fabrica
    The film’s sometimes brusque transitions and decentered perspectives are just as transgressive as any of the graphic imagery.
  77. Rare Objects
    Holmes is a generous but indiscriminate director of actors: She has the tendency, not uncommon among actors turned directors, of extending a cast of inconsistent talent a degree of latitude better reserved for the heaviest hitters. (She doesn’t have this problem with her own performance, which is both compelling and well-situated in the context of the film.)
  78. Everything Went Fine
    Understated almost to a fault, the film pitches its tone somewhere among the looming sorrow, gentle comedy and bureaucratic tedium that death, especially when planned, can entail. If the result is bracingly unsentimental, it’s also a touch inert — a little too poised to compel emotionally.
  79. Human Flowers of Flesh
    There is little story beyond the snatches of conversation we receive, but Human Flowers of Flesh brims with visual and aural detail from the rocky coasts and gurgling reefs.
  80. How to Blow Up a Pipeline
    How to Blow Up a Pipeline is at its best when it functions as a kind of roughed-up caper movie; it has a degree of suspense and efficiency that are becoming all too rare in the mainstream.
  81. Praise This
    The film reads like a faux-hip youth pastor in movie form, only instead of an acoustic guitar, it’s an 808 drum machine luring the kids toward God.
  82. Paint
    Written and directed by Brit McAdams, Paint is a comedically inert parody of male privilege that’s all sight gags and very little substance.
  83. Chupa
    Though the concept is promising, and some moments are tender, one wishes the film had delved deeper into the chupacabra myth and the characters’ stories to make for a more satisfying watch.
  84. On a Wing and a Prayer
    The images portray a weightless crisis, and the film’s emotional narrative feels similarly insincere, with the balance of fate seeming to sway on the placement of a well-timed prayer.
  85. Showing Up
    Together, Reichardt and Williams — with little dialogue and boundless generosity — lucidly articulate everything that Lizzy will never say and need not say, opening a window on the world and turning this wondrous, determined, gloriously grumpy woman into a sublime work of art.
  86. Joyland
    Outrage works in the movie’s favor; this polite weepie needs the added spice. While about an unconventional affair, the movie is more interested in suppression and restraint.
  87. Lewis Capaldi: How I'm Feeling Now
    Remarkably, “How I’m Feeling Now” manages to escape most of the promotional trappings of its ilk, striking a more meaningful note than other pop star docs.
  88. The Super Mario Bros. Movie
    While the details are meticulous, the attitude is all wrong, trading the simple, unaffected charm that has served the character so well since his introduction in 1981 for a snarky and fatuous air that leans hard on winking humor and bland, hackneyed irony.
  89. Air
    Written by Alex Convery, Air nicely hits the sweet spot between light comedy and lighter drama that’s tough to get right. It’s funny, but its generous laughs tend to be low-key and are more often dependent on their delivery than on the actual writing.
  90. Country Gold
    This movie gets better the more it strays from its real-life models and into hazy hallucinatory American weirdness. But the snotty dismissiveness with which it treats country music ultimately overwhelms its intriguing qualities.
  91. Living with Chucky
    With an influential history to mine, it’s a shame the franchise-spanning documentary Living With Chucky, written and directed by Kyra Elise Gardner, feels like hagiographic DVD featurettes meanderingly stitched together.
  92. Tetris
    Like its namesake, Jon S. Baird’s Tetris is clever, crafty and shockingly entertaining.
  93. Space Oddity
    Serious subject matter aside, the movie is as bogus as Alex’s prospects of being an astronaut.
  94. In Viaggio: The Travels of Pope Francis
    A repetitious feel begins to take over. For some viewers, quietude may yield to boredom.
  95. Dungeons & Dragons: Honor Among Thieves
    After a decade in development, the project that made it to the screen is a noisy, pixelated smash-and-zap that does manage to capture the spirit of play.
  96. Murder Mystery 2
    As they have in past team-ups, Sandler and Aniston maintain a charming midcareer looseness, and have a palpable affability as a duo — one can sense the fun they had making such silliness, even if the result isn’t gold.
  97. Spinning Gold
    With filial care but a flawed script, the filmmaker delves into what drove Bogart, the man, more than Bogart, the artis.
  98. Enys Men
    At times, Jenkin’s bold, experimental style can perplex; but his vision is so unwavering and beholden to local history that his message is clear: On Enys Men, the earth remembers what the sea has taken.
  99. Smoking Causes Coughing
    Welcome back to the zany world of Quentin Dupieux, a French director who cranks out (his previous film, the time-travel fable “Incredible But True,” came out just months ago) low-budget absurdist comedies with preposterous premises that he always takes at face value, no matter how demented. His latest might be his funniest yet.
  100. The Line
    The film is at its strongest when it focuses, in its more understated scenes, on a distressing human tendency: to create distance between ourselves and those who know us best.
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