The New York Times' Scores

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For 20,266 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: 9,375 out of 20266
  2. Mixed: 8,427 out of 20266
  3. Negative: 2,464 out of 20266
20266 movie reviews
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  1. In the Grey
    These days, Ritchie’s films are all about fabulous looking people causing a ruckus and blowing a lot of stuff up and taking out less good-looking bad guys in the bargain. “In the Grey” not only delivers these goods but goes into copious detail about just how Sid and Bronco get their ruckus up to speed.
  2. Is God Is
    Is God Is asks us to pay heed — in ways subtle and bold — to its comedy and anguish. It demands, without seeming to, that we watch to see, really see.
  3. The Wizard of the Kremlin
    It’s a useful framework for understanding leaders around the world, and Baranov is the ideal cipher, someone who intimately understands how easily people’s minds are swayed and molded.
  4. Agatha's Almanac
    While not everything that Bock does is equally fascinating — a director’s personal connection to a subject can be both an advantage and a hindrance — a fair amount of it is endearing, even inspiring.
  5. Decorado
    Vázquez’s deadpan directorial style, which occasionally swerves into grim spoofs of Looney Tunes-style antics, perfectly suits the animated dystopia.
  6. LifeHack
    By putting us inside the internet, Corrigan makes their insular world feel uncomfortably close to ours.
  7. Magic Hour
    A crafty reveal does not a clever film make, and even at a merciful 80 minutes, the device eventually feels more tired than the sullen Erin, who soldiers on through her suffering.
  8. Obsession
    Barker shows real promise as a horror storyteller; his instincts about when to hold back and when to plunge the knife are scalpel sharp. If only the sexual politics at play in Obsession didn’t feel so callow.
  9. The A List: 15 Stories from Asian and Pacific Diasporas
    Shorn of any larger narratives or showy touches, the film spotlights each subject telling, in brief, the individual histories and struggles of their lives.
  10. Remarkably Bright Creatures
    While being cynical about a wise-octopus movie is probably unfair, being bored by it isn’t great, either.
  11. Blue Film
    I left this movie with an exhilarated kind of heaviness. Here is a work of art that wants to know what makes us us. There’s no caution. I don’t sense any compromise, either. Nor do I detect judgment. We’re being trusted with these souls, entrusted with them.
  12. Mortal Kombat II
    The spectacle — its eardrum-shattering, eye-popping pyrotechnics, with the violence framed against all manner of phantasmagoric computer-generated backdrops — is its own reward.
  13. Silent Friend
    Plenty of things happen, but Silent Friend isn’t traditionally plot-driven. It’s a film of sprawling ideas that float around like pollen, with some particles creating marvelous blooms. Others drift off aimlessly.
  14. The Sheep Detectives
    Not only is The Sheep Detectives delightful, but it’s funny and emotionally complex and, dare I say, unusually deferential toward the noble sheep, frequently cast as brain-dead losers in cinema’s barnyards (Shaun notwithstanding).
  15. Billie Eilish - Hit Me Hard and Soft: The Tour (Live in 3D)
    In some ways, the movie is a bizarre Venn diagram of aesthetic and emotional interests: a totally immersive experience into the power of Eilish’s music, and a test film for Cameron to play with his latest gadgets.
  16. Our Land (Nuestra Tierra)
    Drawing attention to the filming technology, Martel implicitly reminds us that Chocobar’s case only came to trial because it was filmed and uploaded to the internet in the first place.
  17. Swapped
    Pelage and plumage noticeably lack the tactile quality of a Pixar extravaganza, but the animation gets a pass for the movie’s purposes — namely, to impart a message that communities should trust each other, whether they’re covered in rotely-rendered feathers or fur.
  18. Departures
    Departures is still tender and winsome, with graphic-novel-style animation lightening the load, but is ultimately punishing in tone. It lives by a truth that might ring familiar for gay men particularly: Humor that cuts deep is a form of survival.
  19. One Spoon of Chocolate
    An empty muddle of social commentary with little intensity.
  20. Animal Farm
    There’s a reasonably OK movie somewhere inside Animal Farm, but it’s drowning in ideological confusion, which wouldn’t be such a big deal — one rarely asks children’s cartoons featuring talking pigs to be wellsprings of thoughtful political theorizing — except that this is “Animal Farm.”
  21. Two Pianos
    Looking for rational behavior, especially in a crucial flashback, is pointless. To the extent that Two Pianos coheres, it is in a way that might be described as musical.
  22. That Time I Got Reincarnated as a Slime the Movie: Tears of the Azure Sea
    It’s honestly easier to feel more invested in these characters (or to have a reference point for the understatement of Rimuru’s role) if you’ve been hanging out with the show for one or more seasons. But it’s a diverting dip in the anime sea.
  23. Deep Water
    This picture is not as ridiculous as a “Sharknado” movie — Harlin is out to make a genuine nail-biter, and he largely succeeds, maintaining interest even as the two-hour mark approaches. But it’s not enough to make you genuinely afraid to go into the ocean this summer.
  24. Hokum
    Reveling in misdirection and a teasing duality . . . Hokum profits from Colm Hogan’s insinuating camera as it noses through gloomy corridors and a terrifying dumbwaiter shaft, hinting at what lurks on the other side of the frame.
  25. The Devil Wears Prada 2
    Like the first movie, the second is a sleek diversion with brittle and sharp laughs, truckloads of couture threads and lashings of light drama.
  26. Bernstein's Wall
    While his celebrity has largely faded, Bernstein’s Wall makes the case that his charge to artists to lead the way in culture is timeless, and more vital than ever.
  27. Apex
    This Netflix thriller is a fun-enough time that is elevated by the performances of predator and prey.
  28. Desert Warrior
    Rather than extend the epic sweep of this picture into the cosmic ineffable, he just wants the viewer bouncing along and rooting for its female hero. And the film succeeds admirably in this respect.
  29. Fuze
    Despite a plot (by Ben Hopkins) bursting with double- and triple- crosses, the movie feels programmatic, its characters bland cogs in a Rube Goldberg machine.
  30. Omaha
    I was left befuddled about the movie’s message and, indeed, what I was supposed to make of the whole thing. That’s frustrating, and it’s not the sort of feeling you want to have when leaving a movie like this; it overwhelms whatever impression the rest of the movie might have left.
  31. I Swear
    Jones has turned a life into a hackneyed survivor’s story with cartoon villains, cardboard saints, pretty scenery, mewling piano notes and expedient, drama-goosing epiphanies.
  32. Over Your Dead Body
    Intentionally juvenile humor can have a way of breaking down even the stoniest viewer with the right levels of sincerity and self-awareness, but the film (a remake of the Norwegian thriller “The Trip”) is too slick and giddy about its own crudity to nurture these elements.
  33. Two Seasons, Two Strangers
    Li, carrying a camera she has inherited, appears to search for inspiration in her surroundings, too. Whatever elusive quality she is seeking, Miyake has found something like it. His film gently balances tidiness and looseness, connection and alienation and artifice and the natural world.
  34. Two Women
    Ultimately, Two Women is less a message movie than a featherweight comedy, gesturing at big ideas about sexual politics before settling in as an amusingly mischievous diversion.
  35. Michael
    Here, what we are left with is a string of musical set pieces, like a greatest hits album, performed ably by the stars — in his debut role, Jaafar Jackson dances like he is possessed by his uncle’s talent — but strung together in repetitive false-note ways that are insulting both to audience and subject.
  36. Everyone Is Lying to You for Money
    Even if you’re confused or mystified by the whole concept of cryptocurrency, the movie is a pretty solid introduction to how it works. More important, it explains why people got into it in the first place.
  37. Balls Up
    There are slapstick foibles, sight gags about rubbers, and many, many vulgar jokes — some good for a laugh, though I doubt the film’s Oscar prospects.
  38. Amrum
    To Akin’s credit, the film isn’t tastelessly sentimental (see “Jojo Rabbit”), and it depicts Nanning’s awakening with the kind of subtlety and restraint that suggests his moral education will continue evolving after the end of the movie.
  39. Blue Heron
    An exquisite debut feature.
  40. Eagles of the Republic
    Saleh’s tangled plotting has more verve than his pacing or visual sense. But the movie’s portrait of collaboration can’t help but induce a shudder.
  41. Erupcja
    Although Charli and Góra can’t quite translate enough layers between them to make this film really bruise, this is a pleasantly slight work that doesn’t overstay its welcome.
  42. Mad Bills to Pay (or Destiny, dile que no soy malo)
    In his first feature, the writer and director Joel Alfonso Vargas takes a rather unremarkable premise and unspools it with sedulous care.
  43. Normal
    Normal — which heralds, according to the press notes, the birth of yet another franchise — navigates its cartoonish excesses with expected competence. As for Odenkirk, he’s golden; as mythology nerds will recall, Ulysses was also known as the Master of Cunning.
  44. Mother Mary
    The downer here is that Lowery doesn’t seem to know what to do with his stars, performers who are never better than when they’re just doing what they do best — you know, acting.
  45. Lee Cronin's The Mummy
    Cronin thrills as ever to luscious gross-out scenes.
  46. Steal This Story, Please!
    Goodman’s career is fascinating on its own merits, and the film is full of footage of her doggedly chasing down politicians and sources who clearly would prefer to control their own story. But more important, the movie gradually explores the fundamentals of journalism that she believes in and passes on to colleagues.
  47. You, Me & Tuscany
    To sell its brand of wish fulfillment, the film relies almost entirely on the charisma of its leads.
  48. Exit 8
    Exit 8 is a pip and as fun to watch as it is to mull over.
  49. Newborn
    Parker the writer has tended to overload his screenplays with messages. He does some of that here, as well. Parker the director, however, is gifted with crews and capable actors and that shows, too. The members of his ensemble — especially Oyelowo — find ways to keep us guessing, and caring, to the end.
  50. Fiume o morte!
    The re-enactment approach may not be as novel as it once was, but it’s still a heady, creative way to excavate layers of buried history in a location that has more than its share.
  51. The Travel Companion
    There is charm in the film’s allusions to New York City indie filmmaking, like the crew member who fibs that he’s shooting a mayonnaise commercial. But that specificity does not extend to Simon and Bruce’s bond, which consists of parallel play or the odd story about getting too stoned.
  52. Bunnylovr
    Bunnylovr, the first feature from Katarina Zhu, touches on various themes, none of which feels fully realized. Yet there is such a sweet symbiosis between Zhu’s intimate, easy directing style and her unselfconscious performance in the lead role — beautifully illuminated by Daisy Zhou’s gentle cinematography — that the movie’s aimlessness rarely grates.
  53. The Christophers
    I have rarely enjoyed watching two actors’ rapport the way I loved watching McKellen and Coel; it could have gone on forever and not been long enough.
  54. Faces of Death
    Blood-soaked and intense, it is occasionally uneven in tone, with varying degrees of skill from the cast. But story-wise, it mostly holds together, a thinker of a thriller that, even when it heads into pure slasher territory, still has its brain turned on.
  55. Outcome
    A slapdash satire of modern celebrity culture that is awkward where it wants to be acerbic and clumsily maudlin where it wants to be meaningful.
  56. Hamlet
    A trade-off for this fleet-of-foot adaptation is the full range of the play’s philosophical soundings and emotional palette. But their “Hamlet” surges with its own energies — palpably a matter of life and death.
  57. Jimmy & The Demons
    "The Cathedral” embodies everything that’s lovely about [Grashow's] work — its impishness, its openheartedness and its darkness, too — and Jimmy & the Demons captures all of that with a spirit that matches its subject.
  58. The Blue Trail
    Alas, Tereza, whose interior life remains largely obscured from start to finish, isn’t a compelling vessel for whatever Mascaro is trying to do in this movie. And, as it drifts from one place to another, one encounter to another, one sketchy idea to another, so may your attention.
  59. A Great Awakening
    It’s an earnest account of a religious movement that still resonates — Whitefield’s practice was instrumental in the growth of the Methodist church, and his sermons and lectures are still in print today.
  60. Pizza Movie
    It’s fast, witty, and packed with clever punchlines, though it still finds time for several scatological gags.
  61. The Truth and Tragedy of Moriah Wilson
    The Truth and Tragedy of Moriah Wilson is the latest product off the crime documentary assembly line to raise the question of why it exists and what it ever hoped to achieve.
  62. Living the Land
    The film tracks about a year in Chuang’s life in a sober, sociological style of long takes and smooth pans. The story feels loose, intentionally directionless, at first, but as it winds toward the cooler months, its collection of small details builds up to big-picture revelations about the imminent rise of China as a global superpower.
  63. The Stranger
    Existential ennui is not exactly fun to watch (or, one assumes, easy to perform), yet a meaningless life has rarely looked this beautiful.
  64. DJ Ahmet
    In this strikingly assured debut, the writer-director Georgi M. Unkovski demonstrates gentle realism, paired with luminous cinematography and a superb young cast.
  65. The Drama
    Zendaya and Pattinson are both enjoyable to watch, but she’s given too little to do and he’s given too much.
  66. The Super Mario Galaxy Movie
    There’s a flat empty nothingness to The Super Mario Galaxy Movie, even more than its flat empty predecessor, and that’s a huge bummer.
  67. Yes
    Yes is an unsparing movie and can be hard to watch partly because Lapid’s raw fury and maximalist approach can border on off-putting excess. There are times in “Yes” when he seems to be veering out of control. At other times, he almost seems to bait you to look away, to turn off and tune out just like his revelers, even as he inexorably pulls you in, forcing you to bear witness alongside him.
  68. The AI Doc: Or How I Became an Apocaloptimist
    The result is less clarifying than bewildering, though it’s often very interesting.
  69. She Dances
    While the picture, directed by Rick Gomez, has an often jaunty tone, it’s really at its best when it leans into the sadness that shadows the father-daughter relationship. Those scenes are where the two Zahns do their best, most affecting acting work.
  70. BTS: The Return
    This is, in short, as polished as you would expect of a work about a pop behemoth, a companion piece to their new album that’s less a revelatory look at the meaning of their time away than a sentimental welcome back for the group and its fans. For the BTS Army, that’s likely more than enough.
  71. Alpha
    Softer and gentler than either of its forbears, "Alpha" hums with a dreamlike unease, a movie less concerned with sensation than with genuine feeling.
  72. Fantasy Life
    For a movie about two people going through a wobbly patch, Fantasy Life glides with a sneaky storytelling ease.
  73. Our Hero, Balthazar
    So many details in this comedy-drama (a characterization worth quibbling with) are meant to provoke. And Our Hero, Balthazar teases with the promise of a darkly intelligent film. Not unlike its protagonist’s tears, the effect is dismayingly performative.
  74. A Magnificent Life
    There’s more to love in the details than in this overloaded sprint through history, which the film frames from the perspective of an aging Pagnol as he talks to a phantom version of his younger self and attempts to begin writing his memoirs.
  75. Forbidden Fruits
    Though Reinhart and Pedretti chew through the scenery with dedication, the film, directed and written by Meredith Alloway, is a vibes-only pastiche that has little to add to the satirical queen-bee subgenre besides some updated slang.
  76. They Will Kill You
    A case in which a production designer and prosthetics team showed up for work but the screenwriters might as well have crowdsourced their ideas from fanboys.
  77. Dhurandhar The Revenge
    The first installment’s critics might think this sequel further desensitizes viewers to violence along national or religious lines. It’s a movie of the current moment, which isn’t exactly a comfort.
  78. Lumiere, Le Cinema!
    It’s funny and beautiful and lively.
  79. Dead Lover
    It’s too much yet not enough.
  80. Kontinental '25
    It’s a sneak attack of a movie, one that invites your laughter, even as it jabs you in the ribs.
  81. Late Shift
    Benesch’s beautifully controlled performance — a balancing act of anxious, fidgety physicality and poker-faced concentration — shows us the difficulty of honoring each patient’s humanity when workplace conditions demand efficiency over empathy. Still, this message runs thin as the story progresses, a bit too evenly, through its various cases, giving the film a languid, repetitious quality.
  82. Marc by Sofia
    Two creative decision makers more at ease behind the scenes, they are, perhaps, not the most natural chroniclers of their own careers and social lives, and as the film goes on, it strains to arrive at even the most basic personal revelations.
  83. Palestine 36
    The dynamics are rarely simply drawn, and if the film’s default mode is miniseries-expository, there are a few striking stylistic flourishes.
  84. Peaky Blinders: The Immortal Man
    In its quest to give us a little bit of everything, it finally delivers not nearly enough of anything.
  85. Spacewoman
    If there were lingering doubts about the nation’s first female space shuttle pilot and commander’s rock-steady demeanor, the writer-director Hanna Berryman’s documentary jettisons them.
  86. Tow
    The movie steers into a “beat the system” narrative that packs some stirring “Erin Brockovich” energy.
  87. Two Prosecutors
    Mordantly comedic, Two Prosecutors is deliberately paced but makes a tightly conceived addition to Loznitsa’s work, which rides deep into the long, dark nights of Russian history with fiction, observational documentary and immersions in the Soviet archives.
  88. Miroirs No. 3
    These cinematic allusions are catnip to film lovers, and while they’re pleasurable to consider they’re so delicately woven into the story that they never distract from the characters or the emotion, or edge into directorial cleverness.
  89. Ready or Not 2: Here I Come
    Ready or Not 2: Here I Come is a worthy sequel, repeating some of the same beats as its predecessor, but cleverly reinvented so that it’s still unpredictable and hilariously bizarre.
  90. Project Hail Mary
    Lord and Miller, almost by default, accentuate the positive to the detriment of the very movie that they’ve painstakingly created. Like a lot of Earthlings, they seem more at home in a far-out fantasy than on our ordinary, terrifying planet, which is why this particular message of hope ends up being a bummer.
  91. Bushido
    Written by Masato Kato, Bushido holds you with its performances and a story that circles around questions of honor, loyalty, masculinity and the ties that bind and sometimes throttle.
  92. Group: The Schopenhauer Effect
    It’s invigorating to watch these interactions, even if similar filmmaking methods have been used before.
  93. undertone
    It’s a properly scary movie, the kind that merits watching in a theater with a good sound system (or headphones in a dark room, at home). And “Undertone” provides terrific evidence of what a filmmaker can do even under constraint. The most powerful tool in an artist’s toolbox just might be the audience’s imagination.
  94. Reminders of Him
    Reminders of Him deserves credit for serving it all up unabashedly and without a single wink. This is largely thanks to the stupendous Monroe, and also Withers.
  95. Slanted
    It is no fun for a viewer to scoff at a film that purports to speak to pain that is real for many. But “Slanted” doesn’t actually have any interest in contending with those experiences seriously, instead using its palely observed traumas as a launchpad for a pastiche of other punchier genre films.
  96. Space Cowboy
    It’s an unexpected illustration of how psychiatric challenges can turn one’s life into a “shrinking world,” as Jennings puts it, and how to keep going.
  97. Fukushima: A Nuclear Nightmare
    Although chiefly a straightforward — and at points repetitive — synopsis of the events, Fukushima: A Nuclear Nightmare distinguishes itself in its devotion to elevating these men as heroes.
  98. War Machine
    Such blunt messaging reduces the onscreen carnage, which relentlessly occurs via this mute machine’s searing lasers, barrage of bombs and kaiju breath, to little more than the human toll required for this particular military man to feel again. Worse yet, the film concludes with hawkish intensity, fashioning itself into a tasteless recruitment video.
  99. Dolly
    As an exploitation pastiche, Rod Blackhurst’s new sicko fairy tale is a knockout. Made entirely on Super 16-millimeter film, it oozes grindhouse sleaze that almost reeks through the screen. Ashley K. Thomas’s special makeup effects are distinctively stomach-churning. There’s not much to it beyond that, and for lots of horror fans, that will be enough.
  100. André Is an Idiot
    He can’t be irreverent about his impending death forever, but it’s oddly uplifting to see him so committed to trying — while encouraging every viewer to get a colonoscopy.
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