The New York Times' Scores

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For 20,280 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: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. 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.
  2. Ghostlight
    It’s a gentle story, full of tender moments, and knowing that the parents and daughter in the main cast are a family in real life increases the warmth.
  3. Road House
    Though two hours long, the movie moves as swiftly as a greased ferret through a Habitrail and delivers hallucinatory action highs for its extended climax.
  4. 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.
  5. God & Country
    Rather than come off solely as a grim forecast, the film presents possible alternatives for the country, most notably from the Rev. Dr. William J. Barber II, the minister and social activist who offers a voice of hope and inclusivity that feels genuinely healing.
  6. Longlegs
    As chilling and stylish as it is, Longlegs is a frustrating pleasure.
  7. The Beautiful Game
    The Beautiful Game is a model of a modern “nice” movie.
  8. Cuckoo
    All this gives “Cuckoo” a strange, lusty vigor that’s hugely entertaining.
  9. Lover, Stalker, Killer
    True-crime doc watchers who are in committed relationships may see Lover, Stalker, Killer, a bracing account of a lurid series of misdeeds directed by Sam Hobkinson, and breathe a sigh of relief over being out of the dating pool.
  10. 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.
  11. 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”).
  12. 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.
  13. 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.
  14. The Piano Lesson
    What’s great about the movie is its performances. John David Washington brings fire to his role, matched by Deadwyler’s coolly furious resolve. Jackson’s role has him mostly observing, but he’s a magnetic presence. And Fisher is phenomenal, embodying a character who seems oblivious and a little dense but, it turns out, is more than meets the eye. Still, as a film, The Piano Lesson is the weakest of the Denzel Washington-produced Pittsburgh Cycle.
  15. Suspended Time
    The most appealing character in Suspended Time is Assayas, a hovering offscreen presence who delivers the confessional, gracefully digressive narration.
  16. Lousy Carter
    Between the hammering misanthropy, the herky-jerky editing and almost defiantly crummy sound mix, this exasperating film keeps you enjoyably off-balance.
  17. Free Time
    Burgess carries this succinct (and arguably slight, narratively disjointed) comedy without making you want to strangle his often willfully naïve character.
  18. Solo
    Simon’s drag spectacles may be intentionally fierce and operatic, but there’s something refreshing about this drama’s intimate scale and lack of interest in sweeping tragedies, especially in the context of queer cinema.
  19. Veselka: The Rainbow on the Corner at the Center of the World
    Even if some scenes want for energy, the compassion of the “Veselka” subjects — and its filmmaker — never wavers.
  20. A Traveler's Needs
    This is his third overall feature with Huppert, who adds drollery and an air of mystery. And there is just enough intrigue this time — one motif involves the difficulty of translating a work by Yoon Dong-ju, a Korean poet who died in 1945 after being imprisoned in Japan — to suggest hidden depths.
  21. You're a Big Boy Now
    The charm of his picture lies in the casual kookiness of his characters, plus the random and childlike unreality of the lovely, fragile, dead-panned Miss Deneuve.
    • 66 Metascore
    • 70 Critic Score
    The Rain People
    [Coppola] has made a relentlessly good-looking, accurate-feeling movie without the patronizing paranoia toward the American heartland and its natives that is so much in fashion these days.
  23. Stormy
    After so much media coverage, certain details of the events feel overly familiar. But the director, Sarah Gibson, is often able to put the episodes into fresh contexts.
  24. Y2K
    Jaeden Martell, Julian Dennison and Rachel Zegler, as the teens tasked with thwarting the apocalypse, make charming heroes — but it’s Mooney himself, as the loquacious stoner Garret, who is the film’s dopey MVP.
  25. Messiah of Evil
    The film melds a “California Girls” sensibility (the Beach Boys song, to be clear) with boho fashion and depraved supernatural horror in a way that’s feminine, mesmerizing and lurid. There’s no other horror film quite like it.
  26. Magpie
    A lean, mean revenge thriller that knows exactly what it’s about, Magpie has little originality but an invigorating clarity of purpose.
  27. My Dead Friend Zoe
    Most of the filmmaking in My Dead Friend Zoe feels workmanlike, proficient and straightforward in its storytelling — a promising feature debut for Hausmann-Stokes. The film’s best feature is its performances from a uniformly excellent cast.
  28. The Party
    It’s the tension between Sellers’s inane tact and the general tastelessness of his surroundings that gives the movie its zing.
  29. Oddity
    Coolly executed and seductively simple, Oddity, the second feature from Damian McCarthy (after the unsettling, underseen “Caveat” in 2021), is a fun, back-to-basics supernatural thriller that cares more about making us jump than making us cringe.
  30. Charley Varrick
    Siegel has decorated the movie with a lot of colorful bit characters including a chatty, sex‐obsessed old woman, but the action sequences give the film its content as well as style.
    • 57 Metascore
    • 70 Critic Score
    The Laughing Policeman
    A number of bit performances, including actual police squads and a team of emergency-room doctors, lend vivid local color and authenticity to an engrossing and adult crime caper.
  32. Brandy Hellville & the Cult of Fast Fashion
    Cult documentaries are so popular that I’m a little surprised the film didn’t head more heavily in that direction. But the chorus of voices in the movie makes it clear that consumers should be paying attention. And it’s obvious, too, that the problem is much bigger than Brandy Melville.
  33. 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.
  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. Aisha
    “Aisha” resists tidy answers through the gentle force of its performances and by staying on the rebuffs and uncertainty Aisha suffers.
  36. Touch
    Touch rekindles a treacly genre that I didn’t realize I missed. Its tender performances and gut-punch reveals are classic tear-jerker ingredients. Add to this a natural, inordinately sensitive approach to intercultural love — mercifully, without a sense of righteousness or obligation.
  37. This Closeness
    The film’s stripped-down aesthetic is mirrored in the actors’ performances; they deliver straightforward lines with a hint of self-consciousness and discomfort, even between friends and lovers. It’s as if the closeness is projected through a scrim, which creates a kind of purposeful clumsiness the audience can feel, too. When actual physical contact occurs, it’s almost jarring.
  38. Zootopia 2
    If Zootopia introduced us to an original animal world, this one believes in building out a universe. It can be thrilling, even if it gets lost in its own creation.
    • 51 Metascore
    • 70 Critic Score
    Dead Reckoning
    For those with a taste for rough stuff "Dead Reckoning" is almost certain to satisfy.
  40. Lilies
    Lilies, an extravagantly mannered revenge fantasy by the Canadian filmmaker John Greyson, raises the level of protest at religious prohibitions against homosexuality into a piercing operatic cry.
  41. 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.
  42. Fandango
    Kevin Reynolds, who wrote and directed Fandango, is for the most part making just another coming-of-age film. But at its best, his debut feature has an appealing boisterousness, and it successfully walks a fine line between sensitivity and swagger.
  43. Emilia Pérez
    From the start, the movie hooks you because of its abrupt turns, how it veers into places that, tonally, narratively and emotionally, you don’t expect. Yet while Audiard has productively combined classic genres and present-day sensibilities before, even the more personal, confessional numbers here add little more than novelty.
  44. Black Phone 2
    Derrickson has crafted a sequel that is remarkably different from the original — up in the frosty mountains, this is more of an ax-murderer ghost chase than a trip to a serial killer’s horrific basement — and with that comes a ratcheting up of grisly theatrics.
  45. 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.
  46. HAIKYU!! The Dumpster Battle
    Though “The Dumpster Battle” is squarely aimed toward fans of the series, it has charms that may lead new viewers to the anime (streaming on Crunchyroll and Netflix) to follow the story from the beginning. Because even if crows and cats battling in a dumpster doesn’t appeal to you, there’s still the promise of watching good athletes play a good game — and that’s worth a seat in the bleachers.
  47. Brats
    The film’s through-line of woundedness is by turns touching, irritating and occasionally illuminating.
  48. I Am: Celine Dion
    These awkward segments weaken the powerful emotional atmosphere of witnessing Dion transcend her circumstances. Especially when she lets the cameras stick around, showing some of the most grim health-related scenes I have ever seen of a superstar onscreen.
  49. Bread & Roses
    While the immediacy of the storytelling may blur out precise details, it excels at building stakes.
  50. Bugonia
    Really, though, the reason to watch Bugonia is its leads.
  51. Backspot
    Its early execution strains and wobbles some, but “Backspot” sticks its landing.
  52. A Desert
    Lynch is a difficult influence to wield responsibly, yet Erkman keeps it largely under control: A Desert, if at times too ambitious, certainly feels distinct.
  53. The Devil's Bath
    The film is grounded in a harrowing historical reality, about the terrifying lengths to which women will go to liberate themselves from destructive domestic conditions. Franz and Fiala bring out this reality’s latent horrors through a series of suspense-building strategies.
  54. Chronicles of a Wandering Saint
    The superior second half, in which Rita’s reality is upended, eases into a realm of fantasy that is admirable — and more effective — because of its uncanny, inventive minimalism.
  55. Ladybird Ladybird
    Ladybird, Ladybird is a tough, utterly absorbing film even at moments when it seems to skirt some of the fine points of Maggie's difficulties.
  56. The Vourdalak
    Surrender to its vintage vibe and its emotional kick may surprise you.
  57. The Monkey
    The farce props up the nihilism, and gives The Monkey a strangely hopeful refrain.
  58. Heretic
    Grant is clearly having a lot of fun in Heretic, and it’s enjoyable watching him go hard here with cold, predatory eyes and a smile that turns from uneasily friendly to straight-up fiendish.
  59. Downton Abbey: The Grand Finale
    The director, Simon Curtis, deftly choreographs what feels like a series’ worth of brief interactions into a mostly satisfying whole.
    • 58 Metascore
    • 70 Critic Score
    The Split
    That first hour, although it is not too well or tightly written, is extremely well directed, by Gordon Flemyng, with fine chases on the order of "Bullitt" and meaningful uses of the split screen when the credits are on.
  61. The Secret of Roan Inish
    What prevents "The Secret of Roan Inish" from evaporating into cuteness or from being smothered in mystical overkill is the director's firmly human perspective.
  62. Murder by Decree
    Mr. Hopkins's screenplay is funny without being condescending, more aware of history, perhaps, than Conan Doyle's mysteries ever were, but always appreciative of the strengths of the original characters and of the etiquette observed in the course of every hunt.
  63. 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.
  64. 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.
  65. Twice Colonized
    Much like its heroine, Twice Colonized is a storm of emotion and conviction.
  66. Meanwhile on Earth
    Small and strange, Meanwhile on Earth seduces with its soft, barren beauty (the chilled cinematography is by Robrecht Heyvaert) and Dan Levy’s surreal score.
  67. Eden
    It’s a little surprising that these proceedings are led by the director Ron Howard, since this subject matter is more perverse than anything he has set his sights on before. The actors are up to the task, however.
  68. Memoir of a Snail
    The world that Elliot creates is so strangely beautiful that it’s fun to look at. Plus, the end of “Memoir of a Snail” redeems its flights into tedium by giving us a reason to have watched them.
  69. 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.
  70. The Great Waldo Pepper
    Its moods don't quite mesh and its aerial sequences are so vivid—sometimes literally breathtaking—that they upstage the human drama, but the total effect is healthily romantic. It's the kind of movie that enriches dreams even though its story seems sort of strung-out, like a first draft, and includes moments that slip into bathos.
  71. Peak Season
    A lovely ending makes up for the filmmakers’ giving this triangle one blunt side.
    • 66 Metascore
    • 70 Critic Score
    Road to Rio
    Maybe this is not the funniest picture ever made; maybe it is not even quite as rewarding as some of those earlier journeys, but there are patches in this crazy quilt that are as good and, perhaps, even better than anything the boys have done before.
  73. The World According to Allee Willis
    I think the real story of The World According to Allee Willis isn’t just about Willis: It’s about the community that she formed, the friendships and relationships she maintained, and the way that art, imagination and love can make a life.
  74. Unstoppable
    William Goldenberg’s feature directing debut comes to life more often as a conventional family drama than as a conventional sports movie.
  75. 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.
  76. The Road to Hong Kong
    Practically every moment spent with Bing and Bob is good for consecutive chuckles and frequent belly-deep guffaws.
  77. April
    April is easy to admire, but Kulumbegashvili’s use of art-film conventions can be wearyingly familiar, especially when the leisurely pace turns to a crawl.
  78. 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.
  79. 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.
  80. The Cut
    Bloom plays his role with a feral commitment, and while Turturro has portrayed several villains in his career, here his refusal to ingratiate even slightly yields a genuinely frightening characterization.
  81. Friendship
    These men are so lonely. Thankfully, in a movie, they’re also really funny.
  82. The Order
    The movie is more effective as a grim, involving cop thriller than it is as an ostensible statement on the Order’s reverberations in the present.
  83. 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.
  84. 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.
    • 60 Metascore
    • 70 Critic Score
    Song of the Thin Man
    While Song of the Thin Man is no world beater, it still is a mighty pleasant picture to have around.
  86. Relay
    Relay, a slick, sneaky thriller that’s elevated by both the actor and the director, David Mackenzie, makes it clear that Ahmed also has a silent-era performer’s gift for feverish stillness.
  87. Vice Is Broke
    Huang has made an eye-opening capsule history that will resonate most keenly with Vice fans. But there’s something more widely instructive, too, in his portrait of a culture clash that turned into an unlikely courtship: ragtag punks and the investment bankers eager to hit the “millennial sweet spot.”
  88. From Ground Zero
    The most moving entry might be Etimad Washah’s Taxi Wanissa.
  89. The Luckiest Man in America
    The events, and the mind games, appear to have been goosed for dramatic interest. . . But it is still fun to watch Michael and CBS compete for the upper hand.
  90. Monsieur Hulot's Holiday
    Perhaps "Mr. Hulot's Holiday" extends a bit longer than it should. As such things do, it inclines to repetition. But most of it is good, fast, wholesome fun.
  91. Wicked: For Good
    Despite its unsettling political resonance, “Wicked” is finally most convincing as a story of an intense, soulfully nurturing female friendship.
  92. Superboys of Malegaon
    This tale — inspired by the 2008 documentary “Supermen of Malegaon” — succeeds most as a touching tribute to friendship.
  93. Separated
    If Separated is likely too straightforward — too much of a conventional issue documentary — to be remembered as one of Morris’s richest films, it is not as if the director has abandoned his sense of profound absurdity.
  94. 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.
  95. Stranger Eyes
    Always intriguing, Stranger Eyes proves stronger on concept than coherence. Perhaps the loose ends are Yeo’s way of suggesting that a film director, too, lacks omniscience.
  96. 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.
  97. Patrice: The Movie
    While Jetter and Wickham’s political fight is not resolved as of the end of the movie, the thread in which Jetter works to raise money for the new van she needs to commute affordably to her job has a crowd-pleasing finish.
  98. 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.
  99. Daytime Revolution
    The movie’s quiet star is Douglas himself. Whether gently asking a tense Rubin about his upbringing, or helping Ono with her “box of smiles,” Douglas’s kindness and intellectual curiosity are more compelling than any political argument.
  100. When Fall Is Coming
    A sleek, modestly scaled entertainment about families, secrets and obligations, it features fine performances and some picture-postcard Burgundian locations.
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