The New York Times' Scores

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:
20335 movie reviews
  1. Out of Pinky’s marginalized life, Restrepo conjures a lush but nevertheless desolate cinematic atmosphere.
    • 74 Metascore
    • 70 Critic Score
    It is a film that sweeps swiftly along, with some conspicuously fine episodes and others where the humor is not a little forced.
  2. Certainly, this is a gently evocative movie, with its glimpses of a strict and self-contained culture, and its memories of a time gone by.
  3. If you’d like to see the horror-action equivalent of an old metal rock musician lighting his electric guitar on fire and then playing it with his teeth, this is your movie.
  4. Even with veterans like Hoffman and Bergen, it’s Agron’s film. She and Bialik make Abigail’s filial loyalty as sympathetic as it is exasperating, and as rife with difficult truths about aging as it is understatedly hopeful about growing up.
  5. Cypress Hill: Insane in the Brain, named for one of its signature songs, is an often engaging chronicle of the group (which has sold more than 20 million albums), one that is probably best appreciated by fans.
  6. It’s not just the drama that works. Shinkai delivers hilarious physical comedy in the awkward gambols and leaps of Souta the three-legged chair — a refreshing reversal of the trope of the handsome young love interest who leads the naïve girl on a journey.
  7. Though the film lacks a clear narrative arc, put together, these stories draw a line between the historical genocide and displacement suffered by Indigenous people and the present destitution on reservations.
  8. It’s less a biography than a séance.
  9. Mr. Washington and Ms. Choudhury, whose first film this is, work well together. He has a screen heft that gives the film its dramatic point. Her voluptuous presence defines the urgency of the love affair. In terms of wit and plain old good humor, they are each other's equals.
  10. The film’s loose plotting and secondary character development can leave a few too many hanging threads, but its sense of place is so palpable you can almost smell the smoky city markets, the sweat, the hormones.
  11. While every image is as bright and colorful as a new box of crayons, the kids themselves never come across as artificial, thanks in part to Jamal Sims’ naturalistic but crisp choreography, which emphasizes stomps and leans and long-legged strides.
  12. Jamie Foxx might have top billing, but right there beside him are the professional contortionists whose eye-popping moves are more commonly seen in Las Vegas showrooms than on movie screens.
  13. All in all, “Rise” is as dependable as a Manhattan slice: not mind-blowing in the slightest, but just delightfully cheesy enough to keep kids and adults alike satisfied.
  14. Tannenbaum’s fondness for his store and its wares is a beautiful thing to behold, even at its most vulnerable.
  15. Its intellectual aspiration produces an ideologically crowded film, where each philosophical meditation struggles to receive the attention and depth it deserves. Perhaps that is the point: Brunner seems to want to leave us with more questions than answers — or at least, compel us to search for the devil in everything.
  16. The promising first-time feature filmmaker Ximan Li embraces the twists of immigrant experiences in the drama In a New York Minute.
  17. Michael John Warren’s film is a sure-handed blend of making-of explainer, theater-kid scrapbook and jukebox documentary, doling out hits from its theatrical run (through clips) and the reunion.
  18. God’s Creatures is ultimately a movie about the collision between a mother’s fidelity and her moral conscience, and Watson is terrific at telegraphing how these instincts grind against each other to terrifying ends.
  19. Framed by scenes of weeping, the narrative does not entirely pull itself into a satisfying arc, but the film nevertheless unfolds with dexterity and suspense.
  20. The Banshees of Inisherin might feel a little thin if you hold it to conventional standards of comedy or drama. It’s better thought of as a piece of village gossip, given a bit of literary polish and a handsome pastoral finish.
  21. The Ipcress File is as classy a spy film as you could ask to see.
  22. While its new sequel, Hocus Pocus 2, may be a blatant attempt by Disney to continue propping up its streaming platform Disney+ (where the movie has its debut), it manages to capture the same hokey magic of the original while creatively updating its humor.
  23. The cinematography is often grainy, and occasionally Banua-Simon’s choice of interview subjects feels unfocused or repetitive. But there is tremendous educational and moral value in his overview of the history of Kauai.
  24. To set expectations, it’s best to think of My Fake Boyfriend as two movies. There’s the gay rom-com, focused on Andrew, that Pride month viewers have presumably tuned in for, and then there’s an almost “Black Mirror”-ish comedy, centered on Jake, about a meddling techie who gets caught up in his best friend’s life.
  25. It’s a zippy, entertaining approach that offers a surprising degree of insight into the psychology that produced the GameStop phenomenon. Investors played with serious money, but their mind-set was a farcical dive into hyperspace — a week of gambling in a cyber-Vegas that, for some, was worth the hangover.
  26. This time, he takes no great risks, nor does he break new ground in the 20-something serial-small-talk genre. (Currently, Nicole Holofcener's sprightly "Walking and Talking" does it better.) But Burns emphatically avoids sophomore slump with an inviting, ruefully funny film that lives up to his initial promise.
  27. The director Gerard Johnstone doesn’t go for elaborate suspense sequences or truly intense scares. He wants to please, not rattle. And while there are some hints at social commentary on how modern mothers and fathers use technology to outsource parenting, this movie is smart enough to never take itself too seriously.
  28. “We’ve caused pain,” that inmate says, “primarily ’cause we were in pain.” Far from seeming like an excuse, in Since I Been Down, this observation sounds like a way toward reckoning and change.
  29. Cairo Conspiracy is a measured but unsparing portrait of corruption perpetrated by people who, across the board, are utterly confident of their own rectitude. Its denouement offers some mercy, but zero hope that the rot depicted can be corrected.

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