The New York Times' Scores

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For 20,335 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: 9,412 out of 20335
  2. Mixed: 8,455 out of 20335
  3. Negative: 2,468 out of 20335
20335 movie reviews
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  1. Strung
    Strung doesn’t exactly unravel, but it delivers more of the pleasures of a near-camp mash up than the emotional stakes of a psychological thriller.
  2. In the Hand of Dante
    Nothing can stop this overlong and disastrously ill-judged project from flying off the rails.
  3. Drunken Noodles
    Drunken Noodles is at its best when it drifts into flights of fancy that subvert expectations.
  4. Bouchra
    Stories of family hurt have a way of working you over, and Bouchra has its moments. Yet the more the filmmakers focus on the mother-daughter relationship, all while also embracing narrative self-reflexivity, the more drearily familiar — and toothless — this movie becomes.
  5. Little Brother
    “This is crude humor,” André ad libs in the end credits gag reel. It sure is, throughout, but the good-natured performers commit to their bits so much one can’t help but smile.
  6. Lucky Strike
    The World War II movie Lucky Strike is part survival thriller and part throwback hymn to military heroism. It’s quite possible to appreciate the kill-or-be-killed action, starring Scott Eastwood as a man caught behind enemy lines, even as its Greatest Generation patriotism feels preserved in amber from another era in cinema and history.
  7. The Invite
    For the most part, it’s a romp, rhythmically enjoyable and cleverly directed, with subtle flourishes that build out the characters’ quirks and anxieties.
  8. Couture
    Like tulle that tears at the faintest touch, “Couture” offers a gauzy glimpse into the world of high fashion. Precious little occurs, and what does is tinged with sentimentality and stretched gossamer thin.
  9. Romería
    The slowly-building drama between Marina and her extended family plays with lovely (if somewhat generic) naturalism. But as these tensions subtly reveal the enduring stigma of her parents’ disease — with Marina representing an uncomfortable reminder of that past — a separate, thrilling experiment plays out that eventually dives into spectral fantasy.
  10. Supergirl
    That this movie never matches the brilliance of Miller’s goes without saying, despite the heavy-metal clanging. That Alcock manages to rise above the fray with a performance that never feels like borrowed goods is at once a surprise and a gift.
  11. jackass: best and last
    A regrettable portion of Jackass: Best and Last is simply regurgitated material. (There’s even a special credit for a “best of” cinematographer, presumably because such a large percentage of this film has been seen before.) Far too much of the movie consists of the guys playing the tape and reminiscing about their favorite exploding portable toilets.
  12. The Devil Queen (1974)
    De Fontoura, 86, has an assured hand for both hand-to-hand combat and queer aesthetics. (Ângelo de Aquino’s high femme costumes are scandalous.) But the more character-driven scenes drag, at times stopping the film’s pleasures cold with slack dialogue. Still, Gonçalves — a rageful, heartbreaking gangster — and the film he dominates are must-sees for fans of under-the-radar queer movie history.
  13. Never Change!
    It’s not just that the jokes fail. It’s that Reynolds’s hollow script doesn’t seem to know what it wants to say with them. The few bits of comedy that do land offer genuine insight into the collision of past and present.
  14. Voicemails for Isabelle
    The appealing Zoey Deutch is the best reason to watch Voicemails for Isabelle. Written and directed by Leah McKendrick (who also plays a small, amusing role), the movie begins as a tear-jerker and morphs into a rom-com with poignant notes.
  15. Color Book
    Daniels, an actor skilled at delivering hushed poignancy, shares a sincere rapport with Catlett, who furthers the film’s organic tenor with weary eyes that plead for one’s time and grace. His and Daniels’s steady work makes Color Book deserving of both.
  16. The Death of Robin Hood
    It is the sort of film to which you want to apply the word “visionary,” which is to say that it’s clear the filmmaker had a vision and stuck to it admirably. Nothing in the movie is easy or comforting. Little about it even feels like a gesture toward those enamored of other Robin Hood tales.
  17. Leviticus
    We know from innumerable slashers that when a character is alone, trouble is around the corner. But “Leviticus,” with its gloomy, isolated setting and dogmatic parents, manages to turn this vulnerability into an existential issue, too. To make matters worse, the only glimmers of human warmth our boys receive are from each other — and that opens yet another can of worms.
  18. Maddie's Secret
    Brimming with style and spirit up to the final scene, Maddie’s Secret is among the most daring movies I’ve seen this year. That it simultaneously guarantees a giddy good time is a minor miracle.
  19. Rose of Nevada
    From a perspective of pure atmosphere, this is arguably the most mesmerizing film of the year thus far.
  20. Unidentified
    While decently absorbing, Unidentified eventually goes way more Hollywood than either of those films, with a plot that defies logic (raising issues of both structure and perspective) and undermines the movie’s message — unless the pulpy swerve is itself intended as a kind of statement.
  21. Toy Story 5
    It’s fine, pretty and amusing, but if no one’s heart seems in it, perhaps it’s time to make way for other toys.
  22. Girls Like Girls
    Kiyoko didn’t come by her fan-given nickname, Lesbian Jesus, for nothing. Like Kiyoko’s videos, the movie wants to create space for romantic deliverance.
  23. The Gas Station Attendant
    Murthy’s story as a child of immigrants is not particularly unique. But her film is engrossing because of the rich tapestry of sources she draws on.
  24. Honeyjoon
    These delicate mood-shifts are the film’s strength, sanding over (to an extent) the clunkiness of its themes to achieve a special balance: Honeyjoon is both a mourning movie, and a horny one.
    • 74 Metascore
    • 70 Critic Score
    I Am Frankelda
    I Am Frankelda can feel overstuffed with plotlines at times, but like a plastic jack-o’-lantern bucket overflowing with candy: bright, beautiful, spooky — and ultimately, a treat.
  26. O Horizon
    Sometimes it’s clear why a bad movie didn’t work: half-baked premise, poorly cast actors, janky editing, insufficient budget. Sometimes it’s less clear what happened. O Horizon is the second kind of bad movie, with a bonus element: Its existence gets more baffling as you realize what it really is.
  27. Promised Sky
    There is much to be said for [Sehiri's] unsensationalistic approach, and for its specificity of detail, even if splitting the narrative three ways means that each of these stories feels shortchanged.
  28. Stop! That! Train!
    With the same kind of sweetness and heightened stylization that he brought to “Hairspray,” the director Adam Shankman balances jokes for an in-crowd with the pleasures of spoofs like “Airplane!” and “Barb and Star Go to Vista Del Mar,” plus the appeal of seeing Joel McHale in a harness (one of the better star cameos, which also include Sarah Michelle Gellar and Charo).
  29. The Furious
    The Furious is a rousing piece of spectacle.
  30. Disclosure Day
    Steven Spielberg’s Disclosure Day is one of those movies that sweeps you up from the start and rarely lets you down.
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