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. Ella Fitzgerald: Just One of Those Things
    It proceeds dryly and largely chronologically through her life, sometimes with an awkward sense of proportion.
  2. The Audition
    Hoss’s work is impeccable and illuminating, and the movie’s foursquare, frank, brisk approach is salutary. But its final scenes lean into triteness and frustrating evasiveness, which makes the picture a less than entirely satisfying experience.
  3. Beats
    This tender, detail-filled movie lives for the moment.
  4. My Spy
    It has too much violence and language for family viewing, but doesn’t commit enough to the danger of spy thrillers to stir the Bond and Bourne lovers among us. In the end, it doesn’t know which mission it chooses to accept.
  5. The Ghost of Peter Sellers
    Neither bitter nor maudlin, The Ghost of Peter Sellers is a movie about filmmaking and soul-searching, a tale of two Peters and maybe the worst of times for both.
  6. Nobody Knows I'm Here
    Not all the misdirection is elegant, but the film’s tenderness flowers in a lovely, unexpected final shot.
  7. Athlete A
    Cohen and Shenk amplify the voices of the survivors while recognizing that Nassar’s arrest doesn’t dissipate the pain or deep-rooted exploitation.
  8. Michael Jackson's Journey from Motown to Off the Wall
    What it resembles more than anything is a deluxe extended episode of a television music-biography series like “Unsung” (or “Behind the Music” minus the scandals).
  9. If God Is Willing and da Creek Don't Rise
    It was created under different circumstances and it is, perhaps inevitably, a less powerful work than “When the Levees Broke,” more diffuse in its storytelling and more uncertain in its point of view.
  10. You Should Have Left
    Koepp and Kehlmann’s screenplay fails to properly set the groundwork for the film’s final twist, instead dropping egregious and poorly incorporated hints on the sluggish march to a telegraphed conclusion. And the direction, too, feels languid, almost mechanical, with rote terrors and tones robbed from horror movies past.
  11. Disclosure
    With each successive trip to the grim vaults, the hard-won dignity of the film’s transgender speakers is brought into sharper and sharper relief.
  12. Feel the Beat
    The harmony among the kids, particularly the older girls Kari (Lidya Jewett) and Sarah (Eva Hauge), is the film’s greatest asset, and the director, Elissa Down, uses their natural charm as a crutch for the run-of-the-mill story.
  13. Mr. Jones
    More than anything, Mr. Jones is an argument for witnessing and remembrance.
  14. Bully. Coward. Victim. The Story of Roy Cohn
    Long stretches are not a personal reckoning but an overview; many details overlap with “Where’s My Roy Cohn?” from last year, although the clips here are at least as good. It is also more sympathetic to Cohn than either Cohn’s reputation or the familial animosity would suggest.
  15. My Darling Vivian
    The film, ultimately, still lacks Liberto’s own sense of agency.
  16. Picture of His Life
    For a film granted so much up-close access with its subject, Picture of His Life hears surprisingly little from Nachoum himself. Between vérité clips of the journey, the film is inundated with archival footage.
  17. Babyteeth
    The movie has texture but no depth, tears but no snot. Who are these people, I kept wondering.
  18. Miss Juneteenth
    Instead of just depicting the myriad ways black women carry their communities, the movie goes further to explore how these women and black girls support each other in a world that often fails them.
  19. Wasp Network
    There are times in which Wasp Network feels like a John le Carré tale drenched in Miami sun, or even a serious-minded “Top Gun” variant. But it’s also a provocative demonstration of how strange life can get when the political and the personal intertwine like roots of a mammoth tree.
  20. 7500
    One thing Vollrath does well is create a credibly claustrophobia-inducing atmosphere. Then again, when you restrict your camera to the inside of a cockpit, you’d have to be pretty incompetent not to.
  21. My Father the Spy
    My Father the Spy doesn’t have a tidy point to make, but it succeeds at bringing a turbulent reminiscence to life.
  22. The Pollinators
    Here is a movie that presents an intelligent vision of nature. What’s pleasing to the eye is pleasing to the earth — a sentiment the film rigorously supports with science.
  23. Seahorse: The Dad Who Gave Birth
    "Seahorse” is the sort of documentary that gains its interest less from its technique than from its subject, and from the fact that the filmmaker was present at the right time. Articulate, reflective and unhesitant about getting personal, McConnell makes for a complicated character study.
  24. The King of Staten Island
    The King of Staten Island is one of those 10-block-radius life slices whose smallness and intimacy ought to be a virtue. But the movie seems afraid of itself.
  25. In My Blood It Runs
    The director Maya Newell gains access to both worlds that Dujuan traverses — home and school — and the trust that she seems to have built with all participants is vital to the success of this film.
  26. For They Know Not What They Do
    Its success comes from interrogating the cultural assumption that there is no space for a range of sexual orientations and gender identities within religious communities.
  27. Hill of Freedom
    The ingenuity of the movie’s structure is stimulating and delightful, but there’s one aspect of “Hill” that some may find a trifle exasperating: Even more than any of the sad-sack men who populate the director’s other movies, Mori is kind of a stiff.
  28. The Surrogate
    The Surrogate feels like the vexed progeny of an elevator pitch and an ethics advice column.
    • 65 Metascore
    • 60 Critic Score
    Aviva
    Pride in frank eccentricity pushes at times into the unintentionally absurd. Still, it’s exciting how these dance sequences are treated like any other scene, and disappointing when the compulsion to justify them takes hold.
  30. Marona's Fantastic Tale
    Marona has three real homes in her life, and past abandonments have taught her that heartbreak waits in every happiness. But fortunately, the film stays buoyant through its unique, boisterous animation.
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