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. My Oxford Year
    Their relationship plays out mostly to set up the film’s second half, but even when things get juicier, Mylchreest and Carson can’t seem to find much chemistry through the flat writing and direction.
  2. The Bad Guys 2
    The directors Pierre Perifel and JP Sans put the narrative across with a blithe bounciness, and the all-star voice actors play along nicely.
  3. Harvest
    Harvest, which takes place over one week’s time, is gorgeous and strange and a bit winding, though not unpleasantly so.
  4. Together
    It’s clever in concept and kind of silly in execution, which wouldn’t be a bad thing if it knew how to commit to its goofiness.
  5. Architecton
    Architecton is as gorgeous as it is grave. The score (by Evgueni Galperine) and sound design (by Aleksandr Dudarev) contribute mightily to the film’s heavy lifting.
  6. Souleymane's Story
    Boris Lojkine’s Souleymane’s Story, an affecting film about struggle set over two days in Paris, is the rare character study that does not only build empathy with its hero’s pain but channels its sensation.
  7. The Naked Gun
    Taken individually, a lot of the jokes might not work, but when you’re in a blizzard you don’t notice each snowflake.
  8. Happy Gilmore 2
    The early and largely easy fun begins to curdle into inanity that simply drags (there is, oddly enough, way too much actual golf in this movie), before devolving into an overextended fever dream of celebrity cameos.
  9. 2000 Meters to Andriivka
    “2000 Meters” is bruisingly intimate nonfiction.
  10. Sunday Best: The Untold Story of Ed Sullivan
    A music journalist-turned-filmmaker, Jenkins had the hip-hop bona fides to guarantee “Sunday Best” would not be a white savior tale. Instead, his film reveals the authentic amity and steadfast values of an ally.
  11. Il Dono
    Il Dono manages to strike a balance between damnation and idolatry of its medieval setting. We’re sucked in, enraptured, even as we feel its lives fading away.
  12. Shoshana
    This isn’t so much a film about geopolitics or even history as it is about two lovers torn between passion and obligation.
  13. Diciannove
    If the dearth of character development is a gag, Diciannove doesn’t offer much of a punchline. But Tortorici’s filmmaking is stylish enough to make even the slipperiest sequences pop.
  14. The Home
    It seesaws between creepy and dippy, although it pulls no punches in its indictment of the American elder care system.
  15. Oh, Hi!
    To the degree it works — and it does, a lot of the time — it’s a testament to its performers, especially Gordon and, once she arrives on the scene, Viswanathan, both of whom bring an energy to the screen that always has a touch of mischief, like they could veer off into lunacy or ecstasy at any time.
  16. Folktales
    There is poetry as well as deep affection in their close-ups of people and dogs, and lessons for any age in the way students tumble off their sleds and get right back up.
  17. The Fantastic Four: First Steps
    To help us buy in, the film mostly relies on the polish of this retro universe and its premium cast (who turn in uneven performances, save for Moss-Bachrach), along with one’s faint familiarity with the iconography of the heroes, to do the legwork. But those pieces sometimes are sufficient to keep this a smooth-enough ride that can even be periodically thrilling.
  18. Shari & Lamb Chop
    Shari & Lamb Chop is a charming introduction to a remarkable artist and the characters she created, which have endured across generations because they reflect the playfulness at the heart of their creator.
  19. Finally Dawn
    Finally Dawn is at its most intriguing as Costanzo entrusts his curly haired, wide-eyed naïf to maneuver the looking glass of Italian versus Hollywood cinema. Hint: Italy comes off more soulful.
  20. Unicorns
    Hardy peels back the layers to reveal Luke’s sexual awakening so viscerally that it’s easier to overlook the film’s narrative shortcuts.
  21. Life After
    Life After doesn’t equivocate; neither does it offer easy answers. It tackles a thorny topic in a challenging way, with the tenderness, complexity and — notwithstanding Davenport’s earlier wish — the personal perspective it deserves.
  22. No Sleep Till
    No Sleep Till is an understated — and somewhat sleepy — film. Its mood of boredom tinged with dread sometimes verges on outright listlessness.
  23. Smurfs
    It’s refreshing to see children’s animation makers use surrealism, instead of winking pop-culture references, to charm adults.
  24. I Know What You Did Last Summer
    If only these intriguing elements were attached to a more exciting film: We may live among our ghosts, but it’s only fun if they’re actually scaring us.
  25. Cloud
    For all of his genre-bending on display, Kurosawa is interested in something more real and more dark about humanity’s capacity for greed and bitterness, and the quiet ways that the internet can further mutate those diseases in us.
  26. Eddington
    Your mileage will vary according to your stomach for this stuff, but I found myself breathless with giggles at times, sometimes the therapeutic laugh of recognition and sometimes because Aster has a keen eye for what’s most absurd about human nature.
  27. Apocalypse in the Tropics
    It is very precisely not about American politics. Yet the temptation for a segment of viewers to see it as being about that will, I suspect, be insurmountable. But Costa is here to tell a bigger story.
  28. Little, Big, and Far
    I am not quite sure how to tell you what the film is, other than achingly beautiful.
  29. Brick
    Brick is built almost entirely of hints and twists.
  30. Daniela Forever
    The philosophical window dressing — would you rather your loved one live a better life if it meant living without you? — doesn’t play to Vigalondo’s strengths.
  31. Don't Let's Go to the Dogs Tonight
    Because she lacks a conception of colonialism, Davidtz sometimes struggles to negotiate the film’s fidelity to her point of view with a more complete picture of the war.
  32. Sovereign
    Sovereign is most intriguing for its subtle, if incomplete observations of the more complicated realities of both sides of the law that inform and ripple from Jerry’s paranoid world.
  33. Wild Diamond
    Khebizi brings palpable desperation to the role of Liane, despite the limited script, while the cinematographer Noé Bach intimately frames Liane like we’re intruding on her space.
  34. Superman
    As both a story on its own and a prequel to a whole bunch of others, this movie must introduce us to a variety of characters we’ll meet later, and it does it without feeling too much like fan service or exposition.
  35. Videoheaven
    The observations range from the incisive to the grandiose, and at nearly three hours, Videoheaven could stand a tighter edit.
  36. Kill the Jockey
    The director, Luis Ortega, doesn’t give much reason to care about Remo’s conflict — the protagonist’s catatonia inspires the same in the viewer — and instead exhausts his efforts on a mannered blankness of style and mood.
  37. 40 Acres
    There’s a tense beauty to 40 Acres. Deadwyler’s forceful energy fills the frame; through her rigid stature and her cleareyed speech, she lends power and humor to this lovingly stern mother.
  38. Heads of State
    It’s loud albeit harmless japery, best appreciated with your air-conditioning cranked to movie theater levels.
  39. The Old Guard 2
    The film, directed by Victoria Mahoney, is a sure-footed romp that tightens the screws, most immediately by flexing a bigger cast and broadening the lore of the original comic book series.
  40. Barbara Walters: Tell Me Everything
    By those standards, Barbara Walters: Tell Me Everything is disappointing, and more of a puff piece than I suspect Walters herself would have wanted. Yet seen through a different lens, it’s also fascinating — a rather thrilling history of television journalism, as seen through Walters’s life.
  41. Jurassic World Rebirth
    If the franchise wants to be more than a shell of its former self, it’s going to need to recapture the wonder so many felt as kids, or adults, when faced with something so beautifully grand as a dinosaur.
  42. My Mom Jayne
    It is the exquisitely relatable messiness of this exceptional family tale that lingers.
  43. M3GAN 2.0
    Maximalism has its place, but it wears out its welcome here.
  44. Ponyboi
    Gallo’s star-making turn pushes back against this version of hypermasculinity, reshaping genre conventions that have privileged rigid gender binaries. Watching Gallo carve out space for Ponyboi is its own kind of powerful assertion.
  45. Stealing Pulp Fiction
    Turkiewicz apes Tarantino’s great film by giving chapter titles to its sections and setting multiple scenes in a diner. These sequences don’t resemble “Pulp Fiction” so much as they do television ads for Chili’s — a locale where you’ll have a better time than watching this utterly misbegotten movie.
  46. F1: The Movie
    An enjoyably arranged collection of all the visual attractions and narrative clichés that money can buy, “F1” is very simply about the satisfactions of genre cinema and the pleasures of watching appealing characters navigate fast, exotic cars that whine like juiced-up mosquitoes. It’s also about the pleasures of that ultrasmooth performance machine, Brad Pitt.
    • 90 Metascore
    • 100 Critic Score
    The Gold Rush (1925)
    Here is a comedy with streaks of poetry, pathos, tenderness, linked with brusqueness and boisterousness. It is the outstanding gem of all Chaplin's pictures, as it has more thought and originality than even such masterpieces of mirth as "The Kid" and "Shoulder Arms."
  48. KPop Demon Hunters
    The action sequences are fluid and immersive, the art is frequently striking and the music (catchy, if formulaic earworms) is a properly wielded and dynamic storytelling tool.
  49. The Queen of My Dreams
    Kaur acts as an amiable anchor, gamely embodying a mother and a daughter across time periods.
  50. Familiar Touch
    In the end, Familiar Touch reveals itself to be less about the agonies of change than in the concessions we make to feel closer to our loved ones and ourselves.
  51. Elio
    Before long, the fleetingly liberated child and the filmmakers’ imaginative playfulness are boxed up, and the whole thing turns into yet another superhero adventure.
  52. Shanghai Blues
    “Blues,” playing now in a 40th anniversary restoration, is a constant charmer. Watching it is a buoyant experience even when the humor is a bit tasteless, including a bit involving mistaken sex partners during a blackout.
  53. Everything's Going to Be Great
    By turns heartfelt and, especially in the ghost tête-à-têtes, irksome, the movie is helped substantially by its cast, especially Cranston, who brings a welcome sincerity to a quixotic, potentially cloying character.
  54. 28 Years Later
    These nods at a past that’s by turns historic and romantically mythic, feed an undercurrent of tension that Boyle builds on, one kill at a time.
  55. Bride Hard
    A smorgasbord of unconvincing danger and semi-schmaltzy lessons in friendship, Bride Hard is rarely as funny as it could be.
  56. Sally
    Sally, a welcome but unadventurous documentary about the astronaut Sally Ride (who died in 2012), wraps a risk-taking personality inside a risk-averse package.
  57. Sex
    Sex is a curious movie, with a mix of moods and intentions that are, by turns, inviting and seriously off-putting.
  58. Materialists
    Is heterosexual romance doomed, is the romantic comedy? Those questions swirl with light, teasing provocation in Celine Song’s “Materialists,” a seductive, smartly refreshed addition to an impossibly, perhaps irredeemably old-fashioned genre that was once a Hollywood staple.
  59. How to Train Your Dragon
    To be sure, this new iteration is entertaining, bears a sense of heart and brings a tight script of fantasy and friendship to life.
  60. Tatami
    The mounting tensions of these moving parts — and steely performances by Mandi and Amir — make for an engrossing thriller fueled by female rage.
  61. Deep Cover
    The ensemble is packed with seasoned acting professionals across the board, who more than sell their drunk scenes and deliver more than a few laughs on their way to redemption.
  62. Echo Valley
    Battling downpours and an abundance of nighttime shadows, the cinematographer Benjamin Kracun adds a classy, coppery richness where he can. But “Echo Valley,” directed by Michael Pearce (whose 2018 feature debut, “Beast,” mingled equally dissonant themes with far greater dexterity), is ultimately undone by Brad Ingelsby’s distracted script.
  63. Will
    With its rough-hewed realism, “Will” is remarkable not so much for its craft as for its philosophical depth in portraying the tensions between a struggling individual and his community, which can be both supportive and enabling.
  64. Meeting with Pol Pot
    Panh powerfully interweaves real footage of starvation and mass death — sometimes projecting it behind the characters or matching it to Paul’s eyeline. He also brings back the main conceit of “The Missing Picture,” which used clay figurines to depict certain events.
  65. Titan: The OceanGate Disaster
    Directed by Mark Monroe, the film wisely does not linger in the lurid details of the Titan’s catastrophic end, and instead uses an investigative framing that sketches the company’s origins and use of carbon fiber while chronicling a series of problematic dives leading up to its final plunge.
  66. Straw
    The ending is perhaps too twisting for its own good. But Henson — so deeply committed to her character’s emotional cratering — still makes us care.
  67. Slumlord Millionaire
    Because Slumlord Millionaire has assembled a dynamic and engaging group of activists, it seems churlish to complain that it hasn’t found a way to make the material cinematic.
  68. The Last Twins
    Here, heroism is presented less as a feat of preternatural bravery than a series of choices made by someone who simply refused to give up his humanity.
  69. Dangerous Animals
    This is a horror movie about horror movies made by people who seem to have spent more time observing horror movies than the real world. Making this work requires wit, the right tone and a ruthless sense of pace. Byrne manages all three with a sure hand.
  70. I Don't Understand You
    In trying to be both subversive and sincere, I Don’t Understand You ends up not quite pulling off either.
  71. The Life of Chuck
    Ejiofor fills in Marty with dabs of personality and a sense of decency that suggests that while humanity is lost, not every individual is. It’s too bad the movie doesn’t stick with Marty, who warms it up appreciably.
  72. The Ritual
    Topping it all off is a deliberately shaky and agitated shooting and cutting style that heightens nothing. Just watch “The Exorcist” again.
  73. Sunlight
    A little of Sunlight, which she directs and co-wrote with Allen, goes a long way. But there’s still something to seeing a performer go for broke, purging a character’s shame and despair through a screwy, confessional sense of humor.
  74. Ballerina
    Directed, with workmanlike efficiency, by Len Wiseman, “Ballerina” is at once insultingly facile and infuriatingly obtuse, its unmodulated tumult leaving little room for nuance or personality.
  75. Mountainhead
    Still, what Mountainhead lacks in depth, it makes up for in satirical daring. Armstrong’s hallmarks are present: a brutal sense of interpersonal power dynamics, a flair for creative profanity, an abiding belief that the worst people will succeed.
  76. Bring Her Back
    I’m beginning to think that the Philippous don’t just want to shatter our nerves: They want to break our hearts.
  77. Tornado
    The movie quickly establishes itself as a revenge narrative, and each bad guy goes down in a way designed to suit the viewer’s justified bloodlust.
  78. Ghost Trail
    The cat-and-mouse game, which involves Hamid tracking his suspect throughout campus, plays out in a relatively low-key manner, with the film relying on Bessa (and eventually, an eerie Barhom) to deepen the survivor’s dilemma.
  79. Karate Kid: Legends
    There is at once a roughshod, zippy energy coupled with a sedateness here that results from the simple fact that the film never quite knows how to square the pure awkwardness of two teachers — two stars from different eras of a franchise — instructing a karate kid at once.
  80. The Phoenician Scheme
    It’s overstuffed, and thus skims and skitters across the surface of everything it touches, only glancing here and there before it’s taking off to the next story beat, the next exquisitely detailed composition.
  81. The New Boy
    Thornton, who briefly attended a Christian boarding school when he was a child, brings a textured perspective to this story of cultural violence and white guilt.
  82. The Last Rodeo
    The story’s conventional beats (the get-back-in-shape montage, the bad news delivered at a critical moment) cohere into a wholesome journey of long-delayed healing. The inclusion of the wonderful Mykelti Williamson, as Joe’s longtime friend and rodeo partner, injects a buddy-movie vibe that anchors the action in riding bouts that are smoothly thrilling without being punishing.
  83. Jane Austen Wrecked My Life
    Jane Austen Wrecked My Life is both pleasantly diverting and sneakily wise.
  84. Bad Shabbos
    This is, after all, a situational comedy, in which the laughs spring from reaction shots and line deliveries. Luckily, the actors prove up to the task.
  85. Fountain of Youth
    The movie acknowledges its many antecedents.
  86. Lilo & Stitch
    There’s just enough to make for a moderately fun, mostly serviceable and often adorable revamp that will probably satisfy fans of the original.
  87. The Kiss
    Despite the best efforts of the cast and technical crew here, The Kiss winds up in the land of “meh.”
  88. Hurry Up Tomorrow
    Underneath the blinding lights, the Weeknd has always told us, is a hollow core. In that regard, the movie has mirrored the music.
  89. The Damned
    The Damned is shaped as a wistful and laconic study of the minutiae of survival. Though billed as his first fiction film, it wobbles tantalizingly on a permeable line between narrative and documentary.
  90. Final Destination: Bloodlines
    There’s not much more a “Final Destination” fan could ask for, but “Bloodlines” — which at times feel more like a dark satire than a straightforward horror movie — reminds us we’re powerless against the world’s morbid whims. Best we can do is laugh about it.
  91. Love
    The director Dag Johan Haugerud’s gently humanistic drama is one of those films that feels akin to a prism, refracting its theme into the array of colors it contains.
  92. Deaf President Now!
    Deaf President Now! skillfully draws the lines for all viewers. It’s not just a story about a moment in history: It’s also about the ways the movement for deaf education led to the broader disability rights arguments, and how everyone’s rights depend on everyone else’s.
  93. Desert of Namibia
    What clinches the portrait is the sure-handed direction and Kana’s organic performance of a daunting character. Dramatically, Yamanaka finds unpredictable ways into and out of scenes, and she has an eye for the poignant details amid the angst.
  94. Sister Midnight
    In his first feature, Kandhari makes use of morbid humor and expressive imagery, including stop-motion effects. He rarely relies on dialogue and favors a fuzzier plot, which leaves the story with a shapeless and sometimes confusing midsection.
  95. Mission: Impossible – The Final Reckoning
    "Final Reckoning” is flat-out ridiculous, but it’s a model example of blockbuster entertainment at its most highly polished, and I enjoyed it thoroughly, despite its clichés, extravagant violence and gung-ho militarism.
  96. Pangolin: Kulu's Journey
    The result is a movie so sweet and soothing you’ll be forced to admit that sometimes the universe — or, in this case, Netflix — gives you exactly what you need.
  97. My Robot Sophia
    The film skirts gimmicks to go in a more tricky and unsettling direction. It’s an almost soulful portrait of the artist under capitalism, rather than another exposé on robotics and artificial intelligence.
  98. Nonnas
    Nonnas serves up ethnic comedy on a platter of ham and cheese.
  99. Caught by the Tides
    A tour de force that is at once an affecting portrait of a people in flux and a soulful, generous-hearted autobiographic testament from one of our greatest living filmmakers.
  100. Fight or Flight
    Hartnett and Chandran’s laid back chemistry steady the film’s turbulent tonal shifts, adding a punch that the shakily choreographed action lacks.
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