The New York Times' Scores

Select another publication »
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
view
per page
  1. The Accidental Getaway Driver
    Despite comic touches, the story stays in the shadows of heart-to-heart talks and ruminations, with contemplative cinematography that sets faces like gems in the darkness and conjures heady visions of Long in Vietnam.
  2. Superboys of Malegaon
    This tale — inspired by the 2008 documentary “Supermen of Malegaon” — succeeds most as a touching tribute to friendship.
  3. A Sloth Story
    A Sloth Story suffers from a plasticky visual design. The characters seem stiff, like action figures, and their food items, meant to look appetizing, are often rendered as colored medallions.
  4. Last Breath
    Last Breath is disappointingly shallow and fatally lethargic.
  5. We Beat the Dream Team
    It’s rare to see a documentary airing out a long-running beef as beautifully, good-naturedly and enjoyably as this one.
  6. The Unbreakable Boy
    Mainly the story, set in Oklahoma, dispenses its lessons in gratitude, self-forgiveness and sobriety with straightforward sincerity. Sometimes that works, and sometimes it lands with a thud.
  7. Compensation
    Compensation brims with insights and ideas.
  8. Art Spiegelman: Disaster Is My Muse
    Everyone is engaging, the art is magnificent and the whole thing pleasant, if overly cozy and hagiographic. That’s too bad. Then again — with “Maus” and his other work — Spiegelman has already produced his definitive biography.
  9. Ex-Husbands
    Pritzker directs genuine performances and has an ear for conversations with the ring of everyday emotion.
  10. Millers in Marriage
    Its characters may be stressed out, but its rhythms are leisurely, the skill of the actors mostly countering the weaknesses in the script.
  11. Old Guy
    Beyond the stale plot and groaners that make up the dialogue, “Old Guy” suffers from haphazard pacing, as if every third scene was cut out in postproduction. Watching, one wonders who this movie is for — even within the target demographic stated in the title.
  12. The Quiet Ones
    The theft that inspired the movie has been called one of the biggest in Denmark’s history. It deserved a sleeker film.
  13. The Monkey
    The farce props up the nihilism, and gives The Monkey a strangely hopeful refrain.
  14. Sly Lives! (aka the Burden of Black Genius)
    The movie gets lost in the gulf between standard, if illuminating, biography and roiling existential crisis.
  15. The Gorge
    For all the elaborate weaponry, production design and (eventually) frantic action offered here, this movie crackles most as a lively pas de deux between Taylor-Joy and Teller, who commendably take their material seriously no matter how seriously ridiculous it gets.
  16. La Dolce Villa
    To be honest, the longer I watched La Dolce Villa, the more I started to think its very nonsensicality was the charm. It is not aiming for realism, even the kind of realism a previous generation of romantic comedy might have tried to evoke.
  17. Notes on Displacement
    In its form, Notes on Displacement mirrors the terrifying, dangerous journey it chronicles.
  18. Universal Language
    It’s a pensive meditation in an era of displacement, even if the film never tries to make a big point. The mood is palpable, and the meditation legible, even if Winnipeg and Iranian cinema are to you as remote as a chilly winter moon.
  19. Paddington In Peru
    It’s a somewhat rote exercise in soul-searching, and the script lacks subtlety. (At one point, a character actually says, “you have found yourself.”) But the experience is still a worthy one for our furry leading man.
  20. Bridget Jones: Mad About the Boy
    Almost a quarter of a century in, the Bridget Jones movies are coalescing into an evocative portrayal of a character coming to terms with both her imperfections and her strengths in real time.
  21. Captain America: Brave New World
    The writing is stiff and the ensemble is mostly charmless, while the visuals are slapdash.
  22. Paint Me a Road Out of Here
    Paint Me a Road Out Of Here is not a biographical film about Ringgold, even though you’ll learn a lot about her biography from it. The film has bigger aspirations, connecting art, prisons, activism and an expansive life.
  23. Love Hurts
    At 83 minutes, Love Hurts falls somewhere between making a virtue of brevity and wheezing its way to the finish line.
  24. The Fishing Place
    Tregenza is the kind of authentic independent who’s always worth seeking out; when he is behind the camera, he holds you rapt from the get-go.
  25. Armand
    By the end, a kind of narrative lethargy has set in. “Armand” feels mostly like an interesting formal exercise: an attempt to meld realism and surrealism in the most nondescript of places, but in a way that evokes an ancient terror.
  26. Parthenope
    Parthenope, like Sorrentino’s previous films, is an intentionally garish display of sex and luxury that is both irritating and oddly seductive.
  27. Bring Them Down
    This portrait of already wounded people who can’t stop inflicting pain on themselves and each other has a great deal of integrity. But if you’re seeking ennobling sentiment, you’ll do well to look elsewhere.
  28. Kinda Pregnant
    Most egregiously, the world of Kinda Pregnant is filled with dopey men and despairing women whose torments, parental or otherwise, make for a land mine of comedy duds.
  29. Heart Eyes
    It’s hard to discern who the film is for when it feels as if it’s been passed around genre writing classes in search of an identity.
  30. No Other Land
    Its subject — the Israeli-Palestinian conflict — couldn’t be more consequential, and its approach, which includes a directorial team of two Israelis and two Palestinians, feels genuinely daring and bold.
  31. You're Cordially Invited
    There is something off about You’re Cordially Invited, some sense that the whole thing never clicks into place.
  32. Companion
    The film’s satire is barn-door broad, its humor sidelong and sharp enough to take the edge off the gore.
  33. Marcello Mio
    Some might call it a “Keeping Up With the Kardashians” for fans of European cinema. Others might say it’s a trifle. The film’s ending, however, amounts to a bemused shrug.
  34. Green and Gold
    While it speaks well of Nelson’s integrity as a performer that he doesn’t make much effort to render Buck as ingratiating, the result is that the character can be a bit of a drag. His affection for his wife, Margaret (Annabel Armour), shows his softer side.
  35. Love Me
    The Zucheros bring a great deal of imagination to the task, and the sheer audacity of the movie is enough to make it worth watching, even if, at times, the gadgets’ sentimental education starts to feel repetitive.
  36. Dog Man
    In this screen adaptation, written and directed by Peter Hastings, jokes fly with the bouncy randomness of Dog Man’s favorite tennis ball, and there are so many that a fair number of them would land even if they weren’t pretty good.
  37. Eternal You
    In a wide-ranging and somewhat rambling manner, it is about humans’ desperation to find meaning in life wherever they can, and how companies are rushing to fill that gap and inspire almost religious devotion, even in the professionals making the tools.
  38. Liza: A Truly Terrific Absolutely True Story
    “A Truly Terrific Absolutely True Story” is a largely enjoyable, cozily intimate movie that plays like it was made by a fan.
  39. Flight Risk
    Where Flight Risk fails as a film is not really Gibson’s fault. He knows how to shoot action sequences. The screenplay is instead all over the place, in a way that feels tired and halfhearted.
  40. Rose
    In the closing scene, Saada, relying on a fierce bit of acting by Fabian, finds a way to pose the question directly to the audience of what Rose’s life should look like. The answer is clear.
  41. Star Trek: Section 31
    "Section 31,” bravely directed by Olatunde Osunsanmi, is a dog’s dinner of head-snapping reversals and explanatory dialogue — a movie with little on its mind but mayhem.
  42. Presence
    Presence is another ideal trap to trip for a filmmaker who enjoys challenges and changing it up artistically as much as Soderbergh does.
  43. Inheritance
    It’s underbaked and baffling to watch, with little tension or interest to pull us through.
  44. The Colors Within
    The Colors Within has such an aloof tone that the deeper motivations and stakes for each character, though alluded to, don’t feel substantial enough to provide the story with any sense of urgency.
  45. Grand Theft Hamlet
    It’s surprisingly moving, more a testament to the human drive toward community and connection in even the most unexpected of spaces.
  46. Wish You Were Here
    The fault seems to be in the chemistry, not just between the leads — it’s tough to believe that Charlotte and Adam have the connection on their night together that the movie insists upon — but between all of the characters.
  47. Night Call
    The film may be sticking to a familiar template, in which a regular Joe gets sucked into an underworld, but Blanchard’s snappy direction and the great mileage he gets out of the city’s nooks and crannies bumps it up the crime-action totem pole.
  48. Alarum
    Given that the finale of Michael Polish’s spies-on-the-lam thriller, Alarum, teases the unwelcome possibility of a sequel, please consider this review a mercy killing.
  49. Back in Action
    Back in Action has a better cast than its (often mawkish) writing earns. Mostly, the familiarity takes its toll.
  50. One Of Them Days
    Lamont and Singleton effortlessly mix the silly with the sincere, and although “One of Them Days” favors razzing over heart-to-hearts, our belief in this pairing never wavers. For that, hats off to SZA and especially Palmer, who lights up the screen with starry zeal.
  51. Wolf Man
    In one sense, Wolf Man is a generic, and not especially scary, cabin-in-the-woods frightener that leans too often on tenebrous lighting and ear-shredding sound effects. . . Yet the extreme pathos of Blake’s plight is palpable, and Whannell is determined to make us feel it.
  52. I'm Still Here
    I’m Still Here does not present as a simple polemic about a historical and political situation, and that’s the secret to its global appeal. It’s also a moving portrait of how politics disrupts and reshapes the domestic sphere, and how solidarity, community and love are the only viable path toward living in tragedy. And it warns us to mistrust anyone who tries to erase or rewrite the past.
  53. In the Shadow of Beirut
    The four stories are almost overwhelming to witness all packed together, but the mission to communicate them to a larger audience is admirable.
  54. Every Little Thing
    Masear is a terrific documentary subject, but the hummingbirds are as well, and Aitken brings them close to us.
  55. Ad Vitam
    The minimal plot purports to endorse spartan storytelling, but after a promising start the movie detours into an overlong flashback. This may be to give Franck emotional weight, but it only creates belly fat.
  56. Den of Thieves 2: Pantera
    Den of Thieves 2: Pantera isn’t groundbreaking, but it delivers what it promises: lovable scoundrels trading bullets and traversing borders.
  57. The Last Republican
    The combative camaraderie that Pink and Kinzinger demonstrate respects both of them as humans — without softening their stances one bit. I hope to see more films like this one in the years to come.
  58. The Last Showgirl
    Modestly scaled and loosely plotted, it is an unusually tender movie and an ideal vehicle for Coppola’s gift for expressing the intangible and the ephemeral.
  59. Oceans Are the Real Continents
    The much-in-vogue hybrid mode proves more cryptic than edifying this time around.
  60. Eat the Night
    The film’s escalating violence frequently smothers its sweeter, more haunting moments, such as Night using the game to ease Apolline’s fear of losing her brother.
  61. Diane Warren: Relentless
    Even if you don’t care for Warren’s tunes, this movie is likely to make you a fan.
  62. From Ground Zero
    The most moving entry might be Etimad Washah’s Taxi Wanissa.
  63. 2073
    Kapadia is a gifted storyteller in both modes, yet one wishes for a version of “2073” in which the veil between them was more permeable. As the film makes clear, they may soon be one and the same.
  64. Santosh
    Santosh is equally about the methods by which the poor and oppressed are kept in their place, and about what it means to be woman among men who aren’t at all interested in sharing their power.
  65. The Damned
    Its tension weakens, and tediousness sets in, though that effectively evokes what the characters are experiencing. But a period of slog reduces the story’s immersive quality, slowing momentum. What’s best about the movie, though, is how it eventually picks back up and morphs into something a bit different from straight-ahead horror.
  66. Wallace & Gromit: Vengeance Most Fowl
    While I don’t remember seeing any fingerprints dotting their forms this time around, the tender care that went into fashioning each of Wallace’s toothy expressions and Gromit’s quizzically raised brow remains palpable. The love, well, that you feel, too.
  67. Don't Die: The Man Who Wants to Live Forever
    This too-chummy documentary, promoted on Johnson’s website, offers the more familiar reverse sensation of having 90 minutes of your life taken from you. By the time it’s over, you will be older, a progression that if anything the movie feels like it hastens.
  68. Babygirl
    For her part, Kidman takes “Babygirl” to its breaking point with a performance that risks your laughter and which — as she dismantles her character’s perfection piece by piece — exposes a raw vulnerability that can be shocking. It’s the rawest thing in this movie, and it’s bliss.
  69. Better Man
    Gracey paints a fabulously entertaining and touching picture of an insecure, complicated man hauling himself from a quicksand of grasping fans, greedy impresarios, unresolved addictions and father-son dysfunction.
  70. Vermiglio
    Vermiglio is so devoted to evoking a time and place that much of its subtlety does not become apparent until a second viewing. It is a rich, enveloping film that asks viewers to approach it as if tiptoeing through the snow.
  71. Nosferatu
    Setting aside some gratuitous jump scares, Eggers has now made a Dracula movie that’s more than an exercise, more than an assertion of talent. There’s a vision at work.
  72. A Complete Unknown
    Chalamet proves an ideal conduit in A Complete Unknown because the music and its maker have such power. As with any great cover band, it’s the original material that carries you through the night.
  73. The Fire Inside
    The Fire Inside has a little more going on under the hood than your average sports movie.
  74. Elton John: Never Too Late
    It’s true that every documentary about a musician made with their involvement functions, on some level, as a piece of marketing, an attempt to write the narrative of their life. That mode can get a bit wearying. But when the results are this endearing, it feels like a little celebration instead.
  75. The Brutalist
    Many movies offer up a slice of reality; true to the architectural aesthetic that its title invokes, this one offers a slab.
  76. The Count of Monte Cristo
    Refusing to pander to restless derrières, they’ve given this big, bounding, beautifully cinematic swashbuckler almost three hours to breathe. Yet their pacing is so frisky — and Celia Lafitedupont’s editing so elegant — your derrière is unlikely to complain.
  77. The Room Next Door
    Often movies ask what makes life worth living; this one asks what makes life worth leaving. It is a controversial subject, both in the movie and in the real world, and the film doesn’t treat it lightly.
  78. Homestead
    Less a self-contained movie than a pilot for a show that already exists. The quality of the acting can only improve.
  79. The Six Triple Eight
    The drama lands many of the beats of the Greatest Generation genre and its subgenre: Black service members battling on two fronts. But familiarity doesn’t halt it being illuminating and affecting.
  80. Mufasa: The Lion King
    The overall results are generally pretty, mildly diverting, at times dull and often familiar, despite a few unusually sharp, brief departures from Disney’s pacifying formula.
  81. Sonic the Hedgehog 3
    It’s hard to settle on what’s more bombastic: Carrey’s admittedly virtuoso double act, or the teeming computer graphics gadgetry of death and destruction spilling out of every corner of the screen.
  82. Kraven the Hunter
    If the action in Kraven the Hunter was as well conceived as its villains, it’d be a riot. Unfortunately, the brawls are physically detached from the environment. The choreography lacks punch and design; the compositions are spatially unaware.
  83. Dirty Angels
    Suffers from the discord between the real-life conflicts that make up its setting and the cartoonish characters who propel its plot.
  84. September 5
    It’s a serious movie unburdened by self-seriousness, its own and that of the profession it explores with cool, analytic dispassion.
  85. Carry-On
    While the picture doesn’t break any new genre ground, it has several jaw-dropping set pieces, including an incredibly physical fight inside a speeding car. Collet-Serra’s staging is excellent throughout.
  86. Nickel Boys
    Part of what makes Nickel Boys striking is how Ross stays true to the novel but with his own voice, his own narrative and visual style, and how he uses moments in time and freighted images — faces, hands, flashing police lights, an alligator in a class, a mule in a hall — to build the story.
  87. Young Werther
    Booth and Pill make for a pair worth rooting for, but it’s Booth in particular, just barely but believably not of this world, who lends the film its winning sensibility.
  88. The Lord of the Rings: The War of the Rohirrim
    “The War of the Rohirrim” is worth a watch for the Tolkien faithful, especially as a fresh way to adapt the author’s work.
  89. The Man in the White Van
    While Wolfe is an engaging screen presence, the movie is too clumsy and clichéd to conjure tension.
  90. Endless Summer Syndrome
    None of these potentially intriguing avenues play out with much thought, diminishing the emotional effect of a tragedy that winds up seeming like an exercise in style.
  91. Maria
    What we get here isn’t interesting, and it’s not told in an interesting way.
  92. Nature of the Crime
    This quiet and affecting documentary is at once an argument for reform and a soul-searching question: Should the guiding principle of criminal justice be retribution or rehabilitation?
  93. It's Not Me
    Love poem, restless dream, troubled history, alchemist’s scrapbook — Leos Carax’s It’s Not Me is pure cinema as it dances through its dense 42 minutes.
  94. The Bibi Files
    Beyond the videos, the movie takes a thorough, methodical approach to laying out the case against Netanyahu, even if few of its arguments are new.
  95. Hard Truths
    With deep feeling and lacerating and gentle words, Leigh creates a world that, like the vast, mysterious one hovering outside its frame, can seem agonizingly empty if you can’t see the people in it.
  96. Mary
    No genre gesture goes untapped in the deliberately hagiographic “Mary,” a coming-of-age saga about the mother of Jesus. Directed by D.J. Caruso and written by Timothy Michael Hayes, the film aims to draw multitudes.
  97. Unstoppable
    William Goldenberg’s feature directing debut comes to life more often as a conventional family drama than as a conventional sports movie.
  98. Day of the Fight
    Day of the Fight is an unabashed genre picture that manages to be both the kind of movie they supposedly don’t make like they used to, and also something bracingly fresh. It’s anchored by the lead actor, Michael C. Pitt, here ferocious and heart-stabbingly vulnerable in equal proportion.
  99. Lake George
    It’s Coon’s charming performance of the eccentric victim-to-be that brings the film, written and directed by Jeffrey Reiner, into fuller focus as a crime comedy.
  100. Nightbitch
    Adams is a performer whose emotional transparency can make her characters seem unguarded and appealingly vulnerable, and the movie works as well as it does in great part because of her.
Page:

Top Trailers

See all »
See all trailers »