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. Like Crazy
    An energetic, visually attractive but ultimately irritating comedy-drama.
  2. Western
    A funny, romantic film filled with cozy intimacies and lovely, wide-screen images of the French countryside.
  3. My Old Ass
    It’s as much about reframing middle-aged regrets as it is a story about youth, love and possibility — and thus the emotional heft it wields is two-pronged.
  4. Thirteen Conversations About One Thing
    Thrillingly smart, but not, like so many other pictures in this vein, merely an elaborate excuse for its own cleverness. As you puzzle over the intricacies of its shape, which reveal themselves only in retrospect, you may also find yourself surprised by the depth of its insights.
  5. Where Are You Taking Me?
    Though it eventually includes landscape and wildlife, Where Are You Taking Me? is no survey of Uganda; it's too quiet, slow and personal for that. But the film is an unusual, visually rich visit to the nation.
  6. Barcelona
    Barcelona, like "Metropolitan," indulges in long, hair-splitting discussions without resorting to broad gags or worrying about wearing out its welcome.
  7. The Cakemaker
    Sad and sweet, and with a rare lyricism, The Cakemaker believes in a love that neither nationality, sexual orientation nor religious belief can deter.
  8. The Hunchback of Notre Dame
    The latest and most uncertain of Disney's animated efforts, with its manic mood swings and cloying, none-too-cuddly hero.
  9. Gordon Lightfoot: If You Could Read My Mind
    Lightfoot is frank about sizing up that work — the movie opens with him expressing disdain for the sexism of his early hit “For Lovin’ Me” — and he’s refreshingly up-to-date in his perspectives about today’s music.
  10. Jackass Forever
    Two things continue to hoist “Jackass” above its legion of imitators, many of whom are now found on TikTok. First, the razor-sharp slow-motion cinematography, which immortalizes writhing men in wet underpants with the devotion of Michelangelo sculpting “The Pietà.” Second — and more important — is the crew’s friendship.
  11. Duck Season
    Inside this small canvas - almost the entire film unfolds in the one apartment - Mr. Eimbcke turns each character into an epic.
  12. Inception
    Though there is a lot to see in Inception, there is nothing that counts as genuine vision. Mr. Nolan’s idea of the mind is too literal, too logical, too rule-bound to allow the full measure of madness -- the risk of real confusion, of delirium, of ineffable ambiguity -- that this subject requires.
  13. Serenity
    Scene for scene, Serenity is more engaging and certainly better written and acted than any of Mr. Lucas's recent screen entertainments.
  14. Mysterious Object at Noon
    Mr. Weerasethakul's film is like a piece of chamber music slowly, deftly expanding into a full symphonic movement; to watch it is to enter a fugue state that has the music and rhythms of another culture.
  15. The Life of Jesus
    I wanted to show how the underlying racism of society can transform a banal love story into a tragedy, Mr. Dumont has said. His film, for all its characters' uncommunicativeness, is too flat and unswerving to convey that idea surprisingly. But it does bring haunting power to the bitter, tongue-tied helplessness that sets its tragedy in motion.
  16. Computer Chess
    Peculiar and sneakily brilliant.
  17. Paris 05:59: Théo & Hugo
    Light on plot yet heavy on chemistry, Paris 05:59 is at times a little precious. But the two leads are so believably besotted that their occasional immaturity doesn’t rankle.
  18. Casting JonBenét
    It’s a handsome package that never transcends the banality of its ideas, most of which involve how different people, including from Boulder, were affected by the case.
  19. The Last King of Scotland
    Furiously paced, with excellent performances by Forest Whitaker as Amin and James McAvoy as the foolish Scotsman who becomes the leader's personal physician, the film has texture, if not depth and enough intelligence to almost persuade you that it actually has something of note to say.
  20. After Innocence
    Calm, deliberate and devastating, Jessica Sanders's documentary After Innocence confirms many of the worst fears about weaknesses in the American criminal-justice system.
  21. Cast Away
    At its best, Cast Away, like "Titanic," awes us with its sheer oceanic sweep and its cosmic apprehension of human insignificance.
  22. Caucus
    The film is a testament to the power of observational documentary to tenderly present hypocrisy and to show eccentricity peeking out from behind social masks.
  23. Nostalghia
    Loveliness, I'm afraid, is really what this movie is all about.
  24. Unrelated
    This is civilized human behavior captured with a clinical precision and accuracy.
  25. The Trouble with Harry
    It is not a particularly witty or clever script that John Michael Hayes has put together from a novel by Jack Trevor Story, nor does Mr. Hitchcock's direction make it spin. The pace is leisurely, almost sluggish, and the humor frequently is strained. But it does possess mild and mellow merriment all along the way.
    • 74 Metascore
    • 40 Critic Score
    Gun Crazy
    Pretty cheap stuff.
  27. Tomboy
    The story that emerges is programmatic and largely unsurprising, but these children give it messiness, joy and life.
  28. Farewell
    When it comes to actual historical details, Farewell crams too many notions into expositional blips of dialogue. And the scenes of conferences in the corridors of power, whether in Moscow, Paris or Washington, are strained and abrupt.
  29. The Orphanage
    The Orphanage, a diverting, overwrought ghost story from Spain, relies on basic and durable horror movie techniques.
  30. Bones and All
    Bones and All is a ragged hybrid of genres and styles, an elevated exploitation movie, a succession of moods — anxious, horny, dreamy, sad — in search of a metaphor. Or maybe the metaphor is obvious.
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