The New York Times' Scores

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For 20,335 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: 9,412 out of 20335
  2. Mixed: 8,455 out of 20335
  3. Negative: 2,468 out of 20335
20335 movie reviews
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  1. How It Ends
    The film plays as a series of perfectly enjoyable sketches strung together, an excuse for veteran actors to chew on playful dialogue.
  2. Jockey
    The light is beautiful in Jockey, an enjoyable old-warrior movie with a surprising sting, even if the bones and story are creaky.
  3. Mass
    The movie lacks the gut punch of live theater, the thrill or discomfort of watching people show their feelings in real time. But as cinema, it demonstrates the effectiveness of simplicity. A well-written script and an exemplary cast can still produce a movie worth watching.
  4. El Planeta
    This is a dry comedy that elicits amused recognition rather than belly laughs, and Ulman, as a first-time feature director, makes canny decisions to set a wry tone.
  5. Street Gang: How We Got to Sesame Street
    Even those resistant to easy nostalgia will find plenty to think about.
  6. Cusp
    A portrait of modern girlhood, this documentary ultimately becomes a bleak look at the normalization of sexual abuse among the very victimized young women.
  7. First Date
    What follows is a barrage of gunfire, wah-wah guitars and a surprising amount of novelty and heart for a film that can feel as if it’s a road trip through the directors’ inspirations.
  8. We're All Going to the World's Fair
    In the tradition of internet science fiction, “World’s Fair” teases the boundary between the actual and the virtual, though in a frame of mind that is quietly ruminative rather than wildly speculative.
  9. Keep an Eye Out
    Dupieux pulls off this bizarre procedural in a lean running time while hitting the notes of darkness and drollery just right.
  10. Warlock
    Warlock is unexpectedly entertaining, having been concocted with comic imagination by D. T. Twohy, who wrote the screenplay, and Steve Miner, the director.
  11. Gremlins 2: The New Batch
    Gremlins 2: The New Batch speaks to the gleeful hell-raising monster in each of us, and it speaks with much more verve, cleverness and good humor than the film on which it is based. Add this to the very short list of sequels that neatly surpass their predecessors.
  12. There Is No I in Threesome
    As our central couple’s connection falters, the documentary evolves into an astute examination of perspective.
  13. Lapsis
    The narrative eventually loses steam, but the movie’s politics remain as low-key as its acting and as basic as its special effects. Lapsis isn’t a polemic, it’s a caricature, and all the more likable for having its claws sheathed in velvet.
  14. Twilight's Kiss
    Handsomely shot but humble in approach, the film can often feel purposeful, laying down groundwork that other stories of queer experience might take for granted. But Tai Bo’s pragmatic momentum as Pak has a way of restoring a succinctness to the movie, which avoids minimizing or exploiting the pains of concealment.
  15. Biggie: I Got a Story to Tell
    Maybe half of the film is about his music career, and of that, not much at all is devoted to his commercial prime. This makes the film anti-mythological, but also far more robust.
  16. Sin
    An austere, demanding sit, Sin — a Russian-Italian coproduction with Italian dialogue — nevertheless has a stubborn integrity in exploring the competing forces of patronage and creative inspiration that Michelangelo confronted in the 16th century.
    • 64 Metascore
    • 70 Critic Score
    Donovan's Reef
    This running account of Pier 6 brawls, miscegenation, romance and religion that disrupt the idyllic life on a post-World War II South Sea island paradise is sheer contrivance effected in hearty, fun-loving, truly infectious style.
  18. Arizona Dream
    Arizona Dream is enjoyably adrift, a wildly off-the-wall reverie. It's more than a fish out of water.
  19. Undercover Blues
    A most genial surprise, a comic update of cold war espionage movies that, because of the New Orleans location, has the enhanced charm of a stolen holiday...This movie is a breeze.
  20. Shoplifters of the World
    This sweetly nostalgic look at lost boys and lonely girls feels like it comes straight from the heart.
  21. Shoot to Kill
    This is essentially a formula film, and as such it's nothing fancy. But it has crisp, spare direction, enormous momentum and a story full of twists and turns. For anyone who thinks they don't make spine-tingling detective films the way they used to, good news: they've just made another.
  22. Come True
    Like “Our House” (2018), Burns’s underseen feature debut, Come True is superior throwback horror marred mainly by familiarity and, in this case, an ending that feels like a tease.
  23. Avalon
    A generous and touching film that is essentially smaller than its own sweeping ambitions, a crowded and skillfully drawn landscape from which no oversize figures emerge. Affection and memory are the forces that give Avalon its vibrancy, but they are also its limitations.
  24. My Donkey, My Lover & I
    My Donkey, My Lover & I is yet another story about a woman who ventures out into the wild and finds herself. But to the writer and director Caroline Vignal’s credit, this low-key romantic French comedy proves friskier and more idiosyncratic than its reliance on this trope of feminist empowerment would suggest.
  25. To Catch a Thief
    To Catch a Thief does nothing but give out a good, exciting time.
  26. A Cop Movie
    Ambitious, heady and distinctive, if easier to admire in theory than engage with moment to moment, A Cop Movie has a conceptual strangeness that’s difficult to overstate.
  27. What Do We See When We Look at the Sky?
    Pleasing, exasperating, poignant and coy, “What Do We See” is a loose, exceedingly leisurely meander through a series of momentous and banal moments that take place during an amble through the Georgian city of Kutaisi.
  28. She's So Lovely
    The beat-up poetry, soused look and bad habits of She's So Lovely are often dated. The showy bravado is not.
  29. The Unbearable Weight of Massive Talent
    The director Tom Gormican, who wrote the script with Kevin Etten, gets the job done, churning the nonsense. There are no surprises other than the movie is watchable and amusing, though it’s too bad Gormican didn’t let Cage and Pascal just go with the absurdist, shambolic flow.
  30. Groomed
    Van de Pas calls on experts, psychologists and a convicted sex offender for interviews, but the most illuminating examples come from her own story.
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