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. Satanic Hispanics
    The problem is that the films, which are in Spanish and English, rely on typical horror movie stuff — a haunted house, angry ghosts, shape shifters, tableaus of corpses — to lift scripts that are across the board mediocre. The result is eye-popping but half-formed, more sketches than fully considered short takes.
  2. Terrifier 3
    Leone’s new “Terrifier” film sags under its predecessors’ trappings: a bloated running time, an unfocused script, uneven pacing
  3. Food and Country
    Food and Country, it turns out, is aptly titled: caring about how we get our food and what we do with it isn’t just about culinary creativity. It’s about caring for our neighbors, our country and the world.
  4. Intercepted
    Intercepted is yet another crucial eyewitness document of the Russia-Ukraine war, one that makes the personal stakes painfully vivid. It’s a reminder that war isn’t waged by putative monsters but by monstrous human beings who sometimes need to hear the sounds of their mothers’ voices.
  5. It's What's Inside
    Even the twists feel obvious and not all that interesting, more the fulfillment of plot points seeded early on rather than startling turns of fortune.
  6. The Outrun
    The movie gets dangerously close to being overwrought. But Ronan’s restraint keeps it truthful, even when she’s screaming, or crying, or blacking out. In the end, it mostly aches, and aches, and aches.
  7. White Bird
    One could argue that Forster and company calibrate their anodyne effects to make a Holocaust narrative that’s palatable for younger viewers. But what mostly resonates is a particularly lachrymose brand of show-business hedging.
  8. Daaaaaalí!
    Dupieux captures Dalí’s self-promoting genius but the constant trickery eventually becomes a little tiresome.
  9. Joker: Folie à Deux
    Joker: Folie à Deux is such a dour, unpleasant slog that it is hard to know why it was made or for whom.
  10. Blink
    Blink keeps escaping any pat framing to tap into a deeper ache.
  11. The Universal Theory
    Though visually handsome, the film leaves the audience with the sense that, like a grad student, it is still working out its big ideas.
  12. Apartment 7A
    It’s passably spooky, sure. But all interesting prequels have something in common: They shed new light on their predecessors that expands, illuminates or complicates them in some way. Apartment 7A feels like a predictable retread.
  13. Sleep
    Yu’s direction is confident, and he manages to convey how a little apartment can transform from domestic comfort by day to claustrophobic agony by night. His restraint throughout keeps us guessing.
  14. Lee
    “Lee” feeds the desire to seek out more of her images. Winslet’s performance demands that we consider the force behind the camera.
  15. Rez Ball
    It’s less a slam-dunk nail-biter than a matter of can-do self-determination, or as Jimmy’s friends say: stoodis (“let’s do this”).
  16. Killer Heat
    The twists and pedestrian dramatics are a stiff slog to get to, and Gordon-Levitt’s once innate charisma has vanished altogether here.
  17. The Wild Robot
    The movie is a dazzling triumph of animation in which you feel the filmmakers’ attention on every frame. In a revivifying turn away from the gag-a-minute, computer-generated extravaganzas clogging up the animated zoological canon, this is a work that cares most about two things: big feelings and great beauty.
  18. Saturday Night
    Saturday Night is a movie made by fans, but because Reitman assumes that his viewers are fans, too, and because he’s racing against the clock, he gestures at instead of digging into the show, its humor and history.
  19. Happy Clothes: A Film About Patricia Field
    There’s just a lot here. But with a subject like Field, the mild chaos feels pleasantly appropriate.
  20. A Different Man
    There’s some John Carpenter in this film, and some Woody Allen, and some John Cassavetes, and a healthy dose of Charlie Kaufman-style surreality. The result is shrewd, and fantastic, and something all its own.
  21. His Three Daughters
    Jacobs’s women are at once clinging to the past and looking toward the future. It’s the present that proves so extraordinarily difficult for them, a truth that Jacobs beautifully conveys in a movie that is very much about agonizing loss yet is also, fundamentally, about what it simply takes to keep on living.
  22. The Substance
    The sharpest critique isn’t about bodies, but about the way we’ve trained ourselves to look at those bodies, and the effect that has on our own. The movie is, appropriately enough, a mirror, and our discomfort reveals our own hidden biases and fears about ourselves.
  23. Transformers One
    Most palpable in its frames are the heart and genuine love for this universe, and when the bots start colliding, with action sequences toward the end that are thrillingly punchy, it’s easy to surrender to the lore.
  24. Wolfs
    The movie is a trifle, and it knows it. Mostly, though, Wolfs, written and directed by Jon Watts, is an excuse for its two leads to riff on their own personas, which can be faintly amusing and certainly watchable but also insufferably smug. It’s insufferable a lot.
  25. All Shall Be Well
    The film’s most extraordinary trick is how Pat’s presence hovers over the film. It is a feat of filmmaking and performance that a character only onscreen for a few scenes can feel truly missed by the audience. The home Pat and Angie built together aches with her absence, and so does the film.
  26. Eureka
    Ultimately, the film feels a bit misshapen.
  27. The Featherweight
    Kolodny handles his movie-as-documentary conceit with subtle flair and finesse. For a subgenre as crowded with movies as boxing has weight classes, The Featherweight isn’t a knockout. But it does land more than a glancing blow.
  28. Never Let Go
    Berry is drained of glamour for her role here, and she performs with fierceness; the two boys are also stalwart, but what the movie asks these child performers to do doesn’t add up to effective horror — it’s just opportunistic and gross.
  29. In the Summers
    Lacorazza’s deftness with actors, feel for the setting and aesthetic decisions — shooting in the snapshot-like 1.66-to-1 aspect ratio, or leaving the characters’ Spanish without subtitles — help the drama ring true.
  30. Sirocco and the Kingdom of the Winds
    The film’s many whimsies don’t detract from the resonant themes at the fable’s core, about the transformative qualities of grief and the indelible bond between sisters.
  31. Uglies
    McG has concocted a fantastical, glossily repellent digital landscape that glows with neon and constant fireworks, causing the film to feel at once too sincere and too artificial.
  32. The Killer's Game
    The action choreography is better than passable, although Perry adds grindhouse-movie levels of gore and dismemberment in a dubious effort to up the thrill quotient.
  33. My Old Ass
    It’s as much about reframing middle-aged regrets as it is a story about youth, love and possibility — and thus the emotional heft it wields is two-pronged.
  34. Speak No Evil
    Sleek and ever more unsettling, Speak No Evil is closely based on a far colder, downright nasty 2022 movie of the same title from the Danish director Christian Tafdrup. For the most part, Watkins adheres to the original’s overall design and trajectory while adding some new details and scenes; he also pads the running time an unnecessary 15 or so minutes.
  35. The 4:30 Movie
    Effort goes only so far, and The 4:30 Movie doesn’t surpass Smith’s usual limitations.
  36. The Critic
    Visually, The Critic is polished enough, despite some splashes of apparent digital lacquer. But Marber hasn’t supplied an incontrovertible motive to bind Nina to Jimmy. And there is something arguably troubling about the way McKellen’s character has been conceived.
  37. Matt and Mara
    Matt and Mara is less a movie than an idea for one. It doesn’t help that neither character is likable, or that the director and writer, Kazik Radwanski, fills the screen with close-ups in lieu of information.
  38. Girls Will Be Girls
    The screenplay suffers from some unevenness, but it never wavers in its empathy. It helps that Talati demonstrates a keen eye for composition.
  39. Winner
    A sweeping biopic that presents her as something like an American Girl doll for the “I’m not like other girls” set.
  40. Holding Back the Tide
    By the end, Holding Back the Tide feels like both an elegy and a prophecy, looking toward both past and future to imagine what kind of possibilities oysters represent.
  41. Beetlejuice Beetlejuice
    To a degree and certainly by studio-sequel design, Beetlejuice Beetlejuice has a cozy familiarity. If the manic edginess of Keaton’s original performance suggested that his character had ingested way too much caffeine, though probably something a great deal stronger, he now seems more like a super-eccentric uncle — only, you know, dead.
  42. My First Film
    The irony of My First Film is its two layers: It’s not Anger’s first film, nor is it Vita’s, but it tells the story of one that never quite made it into the world. But really, it’s a movie about learning to have compassion for your younger self, for her dreams and foibles and failures.
  43. The Goldman Case
    Goldman is at the center, and Worthalter gives a hypnotizing performance.
  44. I'll Be Right There
    Even as the gifted actresses trade jabs and punchlines gamely, the moments leave a sour taste.
  45. Hoard
    Though at times squirmingly unpleasant, Hoard is never a drag. The insolence of the filmmaking and the artlessness of the leads energize a plot of stunning recklessness and unexpected humor.
  46. Lover of Men: The Untold History of Abraham Lincoln
    The documentary tends to linger on some assertions about sexuality in Lincoln’s era while papering over others. But the general effort of bringing to light (and potentially to history books) an underrepresented part of American experience remains vital beyond defining Lincoln’s identity.
  47. Look Into My Eyes
    What I did not expect was to emerge with not only a deeper understanding of this strange calling, but far greater empathy for those who seek out its practitioners.
  48. Red Rooms
    The film’s tension rides on the unknown, a paranoid vibe accented by Kelly-Anne’s shady online presence and Gariépy’s stark, sphinx-like performance.
  49. Rebel Ridge
    Sticking within the bounds of reality does make for a heck of a good slow-speed car chase. Those craving flashier, bullet-spraying butt-kickery will have to hope for a more gonzo sequel.
  50. The Front Room
    The Front Room has its virtues, including the funereal production design, with its forlorn rooms and faded wallpaper. Yet from its goo to boos, the whole enterprise is so familiar and at times rote that it feels as though Sam and Max Eggers haven’t so much directed the movie as reverse-engineered it.
  51. Merchant Ivory
    Like many documentaries of this sort, “Merchant Ivory” opts to be a survey without a thesis — informative, even engaging, but lacking an argument that might drive the documentary itself forward.
  52. AfrAId
    This scenario’s predictability could be forgiven were the movie effective on any level, but it just isn’t, from Cho and Waterston’s wooden performances to jump scares that would not startle Scooby-Doo.
  53. The Falling Star
    The Falling Star offers little in the way of dramatic tension or intrigue, and its comedy, mildly clever at first, starts to feel repetitive. The word “tedious” popped into my mind a few times, perhaps because the world of the film is so small that it starts to feel airless and lacking in surprise.
  54. 1992
    The look is drab, the action is barely coherent.
  55. Seeking Mavis Beacon
    Seeking Mavis Beacon still goes down smoothly, at least until its conclusion; while other films tie up too neatly, this one could use a bow at all. It helps that Jones and Ross are clever and likable guides.
  56. The Deliverance
    The usual possession beats are here — creepy crawling! smoking crucifixes! shivering violins! — and given their own quirky spins. (One key revelation takes place over coffees at McDonald’s.) Yet, Daniels carves space for the intimate moments that matter to him.
  57. The Wasp
    There’s not much in terms of social commentary beyond the obvious. Still, the tension between the two women comes across, at times rivetingly, because of Harris and Dormer.
  58. Reagan
    It all makes for a plodding film, more curious than compelling.
  59. Slingshot
    The paranoia sets in all too quickly in this awkwardly paced thriller, and it’s among a handful of defects in a film whose creative process seemed to begin and end with its final twist in mind, haphazardly and unconvincingly working backward to construct what’s necessary to build up to i
  60. Daughters
    There are a lot of tears in this documentary, for the subjects and the audience, too. But Daughters is a remarkable study in how to tell this kind of story without twisting into sentimentality.
  61. I Like It Here
    [Arlyck’s] doing precisely what great memoirists do: invite us into their stories as a way of making space for us to reflect on our own.
  62. The Killer
    The direction is energetic, incorporating frantic flashbacks and resourceful split-screen perspectives, and the plot adds several new twists not found in the first movie. Rest assured, this may be a remake, but it’s not a retread.
  63. Incoming
    Its story of high school freshmen navigating a libertine house party follows exactly the trajectory you would expect, with few laughs and even fewer surprises.
  64. The Crow
    Ultimately what this version, directed by Rupert Sanders, is spiritually derived from is neither the film nor the comic, but rather the flattened popular image that the film produced — a Hot Topic-style version of alternative consciousness.
  65. Between the Temples
    The movie is consistently funny, but its humor tends to be fairly gentle because it’s rooted in human behavior rather than in condescending, judgmental ideas about such behavior.
  66. Close Your Eyes
    Close Your Eyes has its virtues, certainly, including some pleasurably loose interludes at the beachfront compound where Miguel lives. These have a delicate, unforced quality that creates pinpricks of light in a movie that, as it struggles to engage meaningfully with the past, sinks into ponderousness.
  67. I’ll Be Your Mirror
    There’s an implication that repressed emotions are simmering beneath the mundane, but that doesn’t always come across.
  68. Mountains
    As a drama, Mountains, whose characters move fluidly between English and Haitian Creole, is too low-key to leave much of an impression. But as a portrait of intergenerational tensions in an immigrant family, it is poignant, and it captures an area of Miami that is rarely seen onscreen.
  69. Strange Darling
    Playing out in six, ingeniously scrambled chapters, this headlong thriller transforms a simple cat-and-mouse premise — and maybe even a toxic love story — into an impertinent rebuke to genre clichés and our own preprogrammed assumptions.
  70. The Supremes at Earl's All-You-Can-Eat
    This wisecracking, tear-jerking, deep-fried decadence is plenty satisfying if you’re in the mood to indulge.
  71. Blink Twice
    Blink Twice is haunted by lost opportunities. As a woman and survivor, Frida feels ignored. But Kravitz leaves the erasure that Black women feel untapped.
  72. Caligula: The Ultimate Cut
    The great production designer Danilo Donati’s contributions alone are worth the trip.
  73. Close to You
    As attentive as Close to You is to family dynamics, its dialogue, which the actors largely improvised, rarely achieves verisimilitude.
  74. In the Rearview
    The van’s familiar interior has a way of underlining how many other millions across history have had to escape military aggression. Hamela’s work as driver and documentarian reflects that reality while offering a spirit of resilience.
  75. The Greatest Surf Movie in the Universe
    A spectacularly inane comedy.
  76. The Good Half
    Snow, as the daughter who always played second fiddle, brings real feeling to her role — suggesting that she may in fact be the good half of this insipid drama.
  77. The Union
    The gimmick is that The Union, in addition to being an action film, is also a sort of comedy of remarriage for Roxanne and Mike, except that the screenwriters, Joe Barton and David Guggenheim, haven’t brought much in the way of levity to the relationship. Nor have they applied much ingenuity to the big set pieces.
  78. Red Island
    Red Island is by turns seductively sultry and frustratingly elliptical, with a structure that brings to mind matryoshka dolls, those colorful nesting figurines of differing sizes. For the most part, Campillo introduces these nesting elements just fine; it’s integrating them that proves difficult.
  79. Jackpot!
    Directed by Paul Feig from a screenplay by Rob Yescombe, the movie sustains an admirably zany energy, though its jokes often feel underwritten. (“You can’t just steal people’s panic rooms. What are you, Jodie Foster?”) Worse, though, it seems intent on mixing its metaphors.
  80. Alien: Romulus
    Alien: Romulus is a nuts-and-bolts action-adventure horror story with boos and splatter. It doesn’t have much on its mind but it has some good jump scares along with a disappointingly bland heroine, a sympathetic android and the usual collection of disposable characters who are unduly killed by slavering, rampaging extraterrestrials.
  81. Sugarcane
    For one, it’s immersive and incredibly beautiful, shot like poetry and scored by Mali Obomsawin. The result is both stunning and sobering.
  82. Good One
    Good One is the writer and director India Donaldson’s feature debut, and an astounding one, full of the kind of emotional detail that can only come from personal experience.
  83. It Ends with Us
    Adapted from Colleen Hoover’s best seller by Christy Hall, “It Ends With Us” is fitfully diverting, at times touching, often ridiculous and, at 2 hours and 10 minutes, almost offensively long.
  84. The Instigators
    So if the plot of “The Instigators” kind of goes nowhere, its characters give it the feel of a hangout movie with some added shootouts and car chases and a few well-timed explosions. And that, at least, is wicked good.
  85. Girl You Know It's True
    Viewers who press play with intent to scoff may be surprised with how genuinely caught up they become.
  86. Dance First
    The movie, written by Neil Forsyth, was surely intended as a tribute, but it plays more like an effort to reduce Beckett to easily comprehensible terms — the sort of terms he most likely would have resisted.
  87. Cuckoo
    All this gives “Cuckoo” a strange, lusty vigor that’s hugely entertaining.
  88. Borderlands
    You can see the jokes, but most of them don’t land. Still, there is some neat design work if you squint.
  89. Elizabeth Taylor: The Lost Tapes
    It’s not just a fascinating glimpse into a woman who spent her whole life in the spotlight. It’s a chronicle of a moment when everything changed, and a sobering reminder that we often think we know who public figures are, but we rarely really understand.
  90. Trap
    The bigger the scope and the more Cooper’s psychology is explained, the less taut the film feels.
  91. Sebastian
    While sex drives Sebastian, the movie is stuck in foreplay mode.
  92. Coup!
    This implication that virility trumps effeteness is, amid an otherwise straightforward comedy, an uncomfortably regressive way to tell the story of how people vie for power in hard times.
  93. Kneecap
    The film, as a result, feels wildly uneven, though it cruises on the strength of its underdog narrative and its weird, sordid touches.
  94. Peak Season
    A lovely ending makes up for the filmmakers’ giving this triangle one blunt side.
  95. Harold and the Purple Crayon
    The movie plods around awkwardly, trying to leech whatever charm it can from the remaining elements of the original.
  96. Rob Peace
    All told, the movie delivers a well-earned emotional gut punch that refreshingly does not come from perpetuating the physical and systemic violence it aims to shed light upon.
  97. War Game
    The first time I saw War Game, it shook me up; the second time, my visceral response was tempered by a skepticism about power that the movie doesn’t invite.
  98. Swan Song
    The story here is about more than just the ballet: It’s about the people who are stepping into the spotlight.
  99. Cirque du Soleil: Without a Net
    Porter’s inquisitive camera gives the viewer enticing detail on how everything comes together — for instance, unbeknown to the audience, the pool is constantly monitored by rescue divers in scuba gear who also serve as prop people — while holding in suitable awe the actual magic all this work eventually yields.
  100. The Fabulous Four
    This is sloppier and more personality-driven than [Moorhouse's] past work, but the performances are so shamelessly exuberant that, after a while, you simply throw up your hands at the flaws.
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