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. Resistance
    Resistance feels disjointed and dated.
  2. The Platform
    A gnarly mash-up of midnight movie and social commentary, the picture is overly overt but undeniably effective, delivering genre jolts and broad messaging in equal measure.
  3. Vivarium
    There’s a consistent inventiveness — and grim humor — to this treatment of a seemingly well-worn theme.
  4. The Occupant
    The Occupant gets eyebrow-raisingly nasty without ever getting interesting.
  5. Crip Camp: A Disability Revolution
    Newnham and LeBrecht deftly juggle a large cast of characters past and present, accomplishing the not-so-easy task of making all the personalities distinct, and a build a fair amount of suspense in their nearly day-by-day account of the sit-in.
  6. Blow the Man Down
    While the sisterhood in Easter Cove is indeed powerful, the secrets that bind its members prove to be fairly simple, and the result is intriguing enough to make you wonder what these writer-directors might accomplish if they applied their vision to a more expansive canvas.
  7. Dosed
    The shot-calling undermines the movie’s pro-psychedelics argument, because there is no way to control for the psychosomatic effects of starring in a documentary. Nor does Dosed do much to counter or even address objections to mushrooms or iboga as treatments, although it does include firm warnings about the need for supervision.
  8. Lost Transmissions
    The movie’s strongest feature is its depiction of a male-female friendship that matter-of-factly abjures any romantic component. Temple and Pegg, when their characters aren’t falling apart (and even sometimes when they are), convey intelligence and mutual regard with refreshing straightforwardness.
  9. Justine
    The movie is a tightly observed character study that thins out during more expositional moments, but it’s still a thoughtful tale of loneliness and its remedies.
  10. Hooking Up
    With his first feature, the director and co-writer Nico Raineau flips gender stereotypes, giving Darla more sexually aggressive traits and Bailey more timid ones. But even that feels trite.
  11. Human Capital
    The Italian movie, which Paolo Virzì directed, had a marrow-deep instinct for class. There were higher costs. The people in it were stranger, with sharper angles; they were alive. This new movie, which Oren Moverman wrote, Marc Meyers directed and has parts for Liev Schreiber and Marisa Tomei, is a character study that hasn’t done its homework.
  12. Never Rarely Sometimes Always
    In “Never Rarely,” the hurdles to an abortion are as legion as they are maddening and pedestrian, a blunt political truism that Hittman brilliantly connects to women’s fight for emancipation.
  13. Inside the Rain
    Based on Fisher’s own life experiences, Inside the Rain switches erratically between comedy and drama while juggling many half-realized plot threads. But the movie’s strange, inconsistent rhythm ultimately works as a reflection of Ben’s manic and depressive states.
  14. The Dog Doc
    For audiences who don’t mind being jealous of sick dogs, The Dog Doc is a thought-provoking look at what is missing from modern medicine — for animals and for people.
  15. Lost Girls
    There are different ways to describe Garbus’s telling of this mystery: it’s serious, respectful, gravely melancholic. Yet anger best describes the movie’s atmosphere, its overall mood and its authorial tone.
  16. Stargirl
    Stargirl was published twenty years ago, and its age occasionally shows in this adaptation; some of the story beats and character qualities (particularly those of the rather precious title character) have congealed into cliché. But Hart (who wrote the screenplay with Kristin Hahn and Jordan Horowitz) is such an enchanting filmmaker, her storytelling style so warm and welcoming, that those concerns fade.
  17. Big Time Adolescence
    Despite some moments of tenderness and easy chemistry between Zeke and Mo, “Big Time Adolescence” doesn’t have enough heart or humor to save it from becoming just another movie about white dudes bro-ing out.
  18. Heimat is a Space in Time
    Despite some tedious passages, Heimat Is a Space in Time takes an intriguing approach to history that remains refreshingly rooted in primary sources.
  19. The Roads Not Taken
    Potter delivers her vision here in a form that’s perhaps too raw, too undistilled. There’s precious little lightness negotiating with the dark. Her lack of compromise is, as always, admirable — as is her way with actors.
  20. Human Nature
    Every “Oh wow” in Human Nature is matched by an “Oh no” somewhere down the line. Together, these two competing emotions — excitement and unease — make for one pretty fascinating documentary.
  21. The Hunt
    Rage — shared by characters on both sides, even as they direct it at each other — is what “The Hunt” is all about. Anger is the source of its humor and its horror, both of which are fairly effective. The fights and shootouts are brisk and brutal. The dialogue pops with inventive profanity and familiar varieties of name-calling and woke-speak.
  22. Bloodshot
    Bloodshot runs out of meta tricks before it is over, and David S.F. Wilson, who borrows his visual vocabulary from Tony Scott and Michael Bay, delivers action sequences with such choppy continuity that viewers may be as confused as Ray. He deserves bonus points, however, for embracing silliness.
  23. Spenser Confidential
    The prospect of spending more time with this crew is not a bad one.
  24. Hope Gap
    While you’ve seen this portrait before, and better, Nighy and Bening are so in tune with their characters that such rote renderings are easily forgiven.
  25. Extra Ordinary
    While Extra Ordinary overextends its ghosts-are-blasé conceit, Higgins and Ward are appealing leads, and the movie has plenty of charming moments, such as Rose watching an episode of her dad for guidance.
  26. Run This Town
    The movie never quite reconciles its assorted perspectives into a coherent point of view.
  27. Only
    The writer-director Takashi Doscher forgoes apocalyptic spectacle to focus on the pandemic’s effects on Will and Eva’s romance. Too bad. Most of the scenes could have been lifted from a generic relationship drama, and it is only the couple’s conversation, not their visually desaturated world, that distinguishes them.
  28. The Wild Goose Lake
    The movie exhilarates.
  29. Swallow
    Given how nauseating it is to watch Hunter perform increasingly perilous acts of self-harm in her prison of a mansion, neither the payoff nor the psychology behind her actions makes Swallow an illuminating enough addition to the woman-on-the-verge-of-a-nervous-breakdown genre.
  30. Go Back to China
    The biggest trouble here is in the writing. By the time the film gets around to showing what a character has felt, they have already told the audience twice — and most likely another character has explained as well, just in case anyone missed the memo.
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