The New York Times' Scores

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For 20,278 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: 9,380 out of 20278
  2. Mixed: 8,434 out of 20278
  3. Negative: 2,464 out of 20278
20278 movie reviews
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  1. Playground
    This is the first feature from the writer-director Laura Wandel, and it’s a knockout, as flawlessly constructed as it is harrowing.
  2. Everything Everywhere All at Once
    The movie is a metaphysical multiverse galaxy-brain head trip, but deep down — and also right on the surface — it’s a bittersweet domestic drama, a marital comedy, a story of immigrant striving and a hurt-filled ballad of mother-daughter love.
  3. You Won't Be Alone
    You Won’t Be Alone, the ravishing, wildly original first feature from Goran Stolevski, moves so hypnotically between dream and nightmare, horror and fairy tale that, once bound by its spell, you won’t want to be freed.
  4. X
    X is a clever and exuberant throwback to a less innocent time, when movies could be naughty, disreputable and idiosyncratic.
  5. Forbidden Planet
    If you've got an ounce of taste for crazy humor, you'll have a barrel of fun.
  6. The Sky Is Everywhere
    Too many works aimed at younger age groups ooze with sentimentality or buckle under a condescending tone. Here, in figurative voice-over full of imagery, we receive Lennie’s unbridled imagination and worldview.
  7. Watcher
    One of this century’s most arresting tales of female anxiety.
  8. Descendant
    If you’ve ever wondered what “holding space” looks like in practice, the director Margaret Brown’s deeply attentive documentary Descendant provides moving examples.
  9. All That Breathes
    Neither a nature documentary nor a political lecture, All That Breathes is a subtle, haunting reflection on the meaning of humanity — on the breathtaking kindness and heartbreaking cruelty that define our wounded, intrepid, predatory species.
  10. The Novelist's Film
    A Chekhovian study in small moments and chance encounters, which is to say it is a study of human beings as they really live: ambiguously and without exposition, spontaneously and without tidy motives or resolution.
  11. Babi Yar. Context
    Loznitsa has assembled a wrenching and revelatory collage.
  12. La Mami
    Garvín’s adept camerawork allows the story to unfold so seamlessly in its vérité style, that the film emanates the magic of a scripted drama without revealing any noticeable interference.
  13. Fire in the Mountains
    Its criticisms of patriarchal authority, bureaucratic corruption and superstition in rural India are sharp and unsparing, but its political themes are embedded in a humanism that is at once expansive and specific. The characters don’t deliver a message; their lives are the message.
  14. Aftersun
    It’s hard to find a critical language to account for the delicacy and intimacy of this movie. This is partly because Wells, with the unaffected precision of a lyric poet, is very nearly reinventing the language of film, unlocking the medium’s often dormant potential to disclose inner worlds of consciousness and feeling.
  15. Stars at Noon
    The results are sometimes wobbly, but this much remains stable: No living director better understands the politics of sensuality, the terrible power of light and shadow on skin.
  16. TÁR
    To search the movie for a consistent argument is to miss the point and fall into a category error, misconstruing the extraordinary coup that Field and Blanchett have pulled off. We don’t care about Lydia Tár because she’s an artist; we care about her because she’s art.
  17. War Pony
    A stellar debut.
  18. R.M.N.
    The tame and the wild roam through R.M.N., nipping at its edges, adding visual texture and deepening its themes.
  19. Corsage
    Making Elisabeth interestingly human proves more than enough, a feat that Kreutzer and Krieps accomplish to dazzling effect.
  20. EO
    No movie that I’ve seen this year has moved me as deeply, made me feel as optimistic about cinema or engaged me with such intellectual vigor as “EO,” whose octogenarian genius auteur and all the donkeys who play EO — Hola, Tako, Marietta, Ettore, Rocco and Mela — deserve all the love and the carrots, too.
  21. Funny Pages
    There’s nothing remotely cool about Robert or, really, Funny Pages. That’s because cool is entirely beside the point. What matters is a sensibility, a worldview — what matters is art.
  22. High and Low
    A sizzling, artistic crackerjack and a model of its genre, pegged on a harassed man's moral decision, laced with firm characterizations and tingling detail and finally attaining an incredibly colorful crescendo of microscopic police sleuthing.
  23. Oppenheimer
    “Oppenheimer” is a great achievement in formal and conceptual terms, and fully absorbing, but Nolan’s filmmaking is, crucially, in service to the history that it relates.
  24. Love in the Afternoon
    This grandly sophisticated romance, which Mr. Wilder and I. A. L. Diamond have penned with a courteous nod to a novel by a Frenchman named Claude Anet, is in the great Lubitsch tradition, right down to the froth on the champagne, with a couple of fine additional "touches" that Mr. Wilder may wholly claim.
  25. No Bears
    Panahi, whose courage and honesty are beyond doubt, has made a movie that calls those very qualities into question, a movie about its own ethical limits and aesthetic contradictions.
  26. Women Talking
    The root of Protestantism, after all, is protest — against arbitrary and unaccountable authority in the name of a higher truth. Women Talking reawakens that idea and applies it, with precision and passion, to our own time and circumstances. The women don’t want pity or revenge. They want a better world. Why not listen?
  27. Walk Up
    A conversation falters. Another bottle is opened. Three people share drinks and their universe is completely reordered.
  28. Return to Seoul
    Return to Seoul is a startling and uneasy wonder, a film that feels like a beautiful sketch of a tornado headed directly toward your house.
  29. Polite Society
    It’s a delight that borrows from everything — westerns, musicals, heist capers, horror, Jane Austen and James Bond — to build its writer and director, Nida Manzoor, into a promising new thing: a first-time filmmaker impatient to evolve cultural representation from the last few years of self-conscious vitamins into crowd-pleasing candy.
  30. Huesera: The Bone Woman
    "Huesera" is the type of staggering supernatural nightmare that is as transfixing as it is terrifying.
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