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. Ryuichi Sakamoto | Opus
    For the fan, it’s an intensely moving experience. But even for the viewer without much knowledge of Sakamoto’s work, “Opus” holds its own as the rare cinematic space for contemplation.
  2. All of Us Strangers
    Haigh is a tremendously lyrical filmmaker, and All of Us Strangers unfolds in a space that seems like a dream, or a hallucination, pulsing with the rippling soul rush of love turning a life from monochrome to full color.
  3. Hit Man
    It’s radiant and loose and confident, the kind of movie that you can just tell was a blast to make, which makes it a blast to watch. As our overstuffed big-budget era starts to falter, let’s hope they start making movies like this again.
  4. Janet Planet
    Janet Planet is a tiny masterpiece, and it’s so carefully constructed, so loaded with details and emotions and gentle comedy, that it’s impossible to shake once it gets under your skin.
  5. Songs of Earth
    It’s an altogether extraordinary film, one I’ve thought about often since I first saw it, and I’m delighted that it’s playing in theaters — the immersive nature of the sounds, music and landscapes are worth experiencing with the full concentration a cinema affords.
  6. The Trial (El Juicio)
    Crafted entirely out of the televised 1985 trial of Argentina’s military junta, The Trial lays bare horrific crimes while showing the courage of victims, survivors and their families.
  7. Still Film
    Writer-director James N. Kienitz Wilkins’s “Still Film” is a stunning, acute critique of the regressive artistic sensibilities that plague contemporary Hollywood.
  8. Menus Plaisirs - Les Troisgros
    There’s individual genius in the Troisgros kitchens, no doubt, but also enormous collaborative effort, which makes the documentary a nice metaphor for filmmaking itself. “Everything is beautiful,” a visibly moved Michel says of his estate; the same holds true of this deeply pleasurable movie.
  9. The First Year (1972)
    Guzmán’s documentary is a people’s microhistory of a nation in transition.
  10. Renaissance: A Film by Beyoncé
    I don’t know if it’s entirely possible to be supremely conscious of one’s self and yet be vividly unselfconscious, but that’s where Beyoncé finds herself.
  11. Moby Dick
    This is the third time Melville's story has been put upon the screen. There is no need for another, because it cannot be done better, more beautifully or excitingly again.
  12. Colette and Justin
    The result is a film both intimate and political; informative and profound. It highlights the deep and far-reaching wounds of colonization and offers a balm for its scars.
  13. Anora
    This is a story of wealth, and power, and what love can and can’t overcome. But it’s also about something far more heart-rending: what it means to be accustomed to being looked at one way, and then experiencing, out of the blue, what it feels like to actually be seen.
  14. Against the Tide
    Sarvnik Kaur’s breathtaking documentary about Indigenous fishermen in Mumbai, India, dispels the myth that cinematic beauty has to do with the power of the camera or the glossiness of the image. Shot by Ashok Meena, the film finds beauty, simply, in perspective.
  15. The Tuba Thieves
    Its connective tissue is an idea, an exploration, and it’s designed to be more absorbed than understood. But for the patient audience, it’s richly illuminating.
  16. Civil War
    Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor’s face that, like Dunst’s, expressed a nation’s soul-sickness so vividly that it felt like an X-ray.
  17. Mickey 17
    Bong keeps things zipping along, and with such nimbleness that the movie’s heavier ideas never weigh it down. He jabs rather than pounds as he takes on targets — authoritarianism, comic-book heroics, the vanity of power — while playfully mixing moods and acting styles.
  18. I Saw the TV Glow
    What’s most effective, and staggering, is Schoenbrun’s storytelling, which weaves together half-remembered childhood elements in the way they might turn up in a nightmare, weaving in sounds and lights and colors and the gloriously inexplicable.
  19. Daughters
    There are a lot of tears in this documentary, for the subjects and the audience, too. But Daughters is a remarkable study in how to tell this kind of story without twisting into sentimentality.
  20. A Real Pain
    A Real Pain is a fluidly blended amalgam of pleasing, approachable subgenres, including an odd-couple buddy flick, a consciousness-raising road movie and a charged family melodrama.
  21. The Remarkable Life of Ibelin
    A rare and beautiful thing: a moving documentary that excavates the question of the “real” in a profoundly humanistic and unconventional way.
  22. Soundtrack to a Coup d'Etat
    In making Soundtrack to a Coup d’Etat, the director Johan Grimonprez used every instrument cinema affords. His documentary is rhythmic and propulsive, with reverberating sound and images juxtaposed against one another to lend more meaning. The result, in a word, is marvelous.
  23. No Other Land
    Its subject — the Israeli-Palestinian conflict — couldn’t be more consequential, and its approach, which includes a directorial team of two Israelis and two Palestinians, feels genuinely daring and bold.
  24. One Battle After Another
    Paul Thomas Anderson’s One Battle After Another is an exciting, goofy and deadly serious big-screen no — a no to complacency, to oppression, to tyranny. It’s a carnivalesque epic about good and evil, violence and power, inalienable rights and the fight against injustice; it’s also a love story.
  25. Nickel Boys
    Part of what makes Nickel Boys striking is how Ross stays true to the novel but with his own voice, his own narrative and visual style, and how he uses moments in time and freighted images — faces, hands, flashing police lights, an alligator in a class, a mule in a hall — to build the story.
  26. All We Imagine as Light
    One of the pleasures of Kapadia’s filmmaking is that she’s inviting you to discover her characters on their terms, which means embracing the inner and outer rhythms of their lives.
  27. Caught by the Tides
    A tour de force that is at once an affecting portrait of a people in flux and a soulful, generous-hearted autobiographic testament from one of our greatest living filmmakers.
  28. Grand Tour
    Beauty is pleasurable, but the film’s use of evocative visuals to focus on storytelling more broadly is what makes it a quiet knockout.
  29. All Shall Be Well
    The film’s most extraordinary trick is how Pat’s presence hovers over the film. It is a feat of filmmaking and performance that a character only onscreen for a few scenes can feel truly missed by the audience. The home Pat and Angie built together aches with her absence, and so does the film.
  30. Marty Supreme
    A hyper-charged take on a bildungsroman, Marty Supreme is one of the most thoroughly pleasurable American movies of the year and one of the most exciting. Part of what makes it electric is how organically its numerous parts — its themes, characters, camera movements and accelerated pacing — fit together in a whirring whole.
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