The New York Times' Scores

Select another publication »
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
view
per page
  1. Is That Black Enough for You?!?
    An occasionally static work if also an unequivocally important and gloriously comprehensive one.
  2. Waiting for Bojangles
    The infectious brio at the heart of “Bojangles” is a testament to the performances of the ensemble cast, but especially Duris and Efira, whose chemistry is magnetic.
  3. Our American Family
    Addiction is a complex, challenging topic, and Our American Family, in its sharp specificity, handles it with grace.
  4. The Book of Delights
    If this erotic drama doesn’t break new cinematic ground, it also doesn’t cede its conviction in portraying relationships as a matter of serious consideration.
  5. This Land
    The narratives in This Land are compelling, even if each of them would benefit from more screen time. (The Covid-19 pandemic affected the shooting schedule, and it shows.) On the whole, the film is best seen as a collage, rather than a definitive report, of the array of opinions brought on by the Trump-Biden race.
  6. Shadow of the Thin Man
    William Powell and Myrna Loy may not have invented star chemistry but they perfected it.
  7. Sirens
    The ending, in which the reunited Sirens play before an enthusiastic crowd, is heart-tugging and rousing, even for non-metal heads.
  8. A Compassionate Spy
    The general impression given by this warm, low-key film is that the spying was a simple act of pacifism. Countervailing voices are faint and few; anyone seeking more vigorous pushback will have to look elsewhere.
  9. The Life and Times of Judge Roy Bean
    It leaves itself wide open to charges of pretentiousness. Yet "The Life and Times of Judge Roy Bean" is so entertaining and so vigorously performed, especially by Newman in the title role, that its pretensions become part of its robust, knock-about style.
  10. The People's Joker
    It’s aggressively self-indulgent, cinematically topsy-turvy and exhausting. It’s also singular, daring and an uncompromising cannonball into the queer cinema pool.
  11. Johnny Handsome
    Because Johnny Handsome is a film by Walter Hill (The Warriors, Streets of Fire), it crams the following things into its first five minutes: gunfire, screeching brakes, a drug-popping hoodlum, a moll in black leather, a violent robbery, one murder, sinister masks, shattering glass. But because this is Mr. Hill's work, these ingredients are slapped together with high style.
  12. V/H/S/99
    These revenge stories move methodically from the familiar to the monstrous. They lean into gore, excess and, critically, smirking humor. A commitment to its staticky, period-appropriate aesthetic is the only thing its artists take deadly seriously.
  13. Four Winters: A Story of Jewish Partisan Resistance and Bravery in WW2
    “Four Winters” offers an enduring warning amid today’s global struggle with authoritarian forces: As one speaker explains, her neighbors were already antisemitic before the war, but with power, they became vicious.
  14. Please Baby Please
    The film’s ironic tone largely defangs the transgressive films it parodies, but Kramer does broaden the scope of the queer leather canon.
  15. Invisible Demons
    Through a series of arresting images, the director Rahul Jain presents a city on the verge of apocalypse.
  16. Susie Searches
    Susie Searches is more than comfortable drawing on the staid tropes of its genre, particularly those that paint mental illness as a path to depravity. But despite its narrative shortcomings, the film builds a tense and mischievous mood that acts as its hook.
  17. Wild Bill
    However hamstrung it occasionally becomes, "Wild Bill" is impressive for a thoughtful, daring spirit and a charismatic hero, so unapologetically larger than life.
  18. My Father's Dragon
    It’s one part doom cloud, one part squirting prank flower — an uneasy balance that’s united only by stunning visuals which sweep the audience along even when the gags stumble.
  19. The Swimmer
    Kalderon and the cinematographer Ofer Inov make Adonises out of the film’s athletes, but the film goes beyond mere marble-body ogling in its equal attention to the physical, psychological and emotional toll that training takes on Erez and Nevo.
  20. Emancipation
    Part of this movie’s power comes from its insistence that you look at the near-unbearable, that you confront slavery as a crime against humanity rather than the perverse myth of the so-called Lost Cause enshrined in countless paintings, books, films and statues.
    • 81 Metascore
    • 70 Critic Score
    Variety Lights
    As a straightforward comedy-drama about the vicissitudes of the principals in a small-time tab show or traveling vaudeville troupe, this is wholesome corn. But it is highly palatable fare, which, in its story line, hews more to the type of films subsequently made by Mr. Lattuada.
  22. Sell/Buy/Date
    Jones — who wrote, directed and stars in the film — doesn’t treat the tensions between exploitation and empowerment, personal agency and systemic cruelties, as binaries. Instead, they are riveting, confounding and, as exchanges between Jones and her mother attest, personal.
  23. The Return of Tanya Tucker: Featuring Brandi Carlile
    The movie interweaves the contemporary sessions with a very selective — and, while not wholly sanitized, certainly discreet — account of her tumultuous past. Overall it’s a better-than-competent piece of fan service and a not unpersuasive bid for an auxiliary youth audience.
  24. The Fire that Took Her
    In interviews, the director Patricia E. Gillespie has said that while pitching the film, people often asked whether she could cover or blur Judy’s face to shield audiences from her burns. Gillespie refused, and her resolve to train her camera on Judy gives the film an unflinching quality.
  25. The Pez Outlaw
    Like Pez, the film is charming and colorful — and perhaps too sweet.
  26. The Train
    It is a vivid melodrama through which Mr. Lancaster bolts with all that straight, strong, American sporting instinct and physical agility for which he is famous.
    • 66 Metascore
    • 70 Critic Score
    Snoopy Come Home
    This sprightly, clever and hilarious treat—all that a comic strip should be on the screen—is even better than "A Boy Named Charlie Brown," which began the series.
    • 81 Metascore
    • 70 Critic Score
    Theater of Blood
    Douglas Hickox's wry romp spotlights a vengeful Shakespearean ham (Vincent Price) and his helpful daughter (Diana Rigg). It's gory and funny. [14 Apr 1996, p.6]
    • The New York Times
  29. Madonna: Truth or Dare
    Truth or Dare is at the very least a potent conversation piece. It can also be seen as a clever, brazen, spirited self-portrait, an ingeniously contrived extension of Madonna's public personality and a studied glimpse into what, in the case of most other pop luminaries, would be at least a quasi-hidden realm.
  30. Nothing Lasts Forever
    That marketing campaigns are built on fallacies isn’t exactly revelatory, but in pairing his excavation of the diamond myth with new inquiries into how the industry is evolving (and how it’s stagnating), Kohn strikes on something valuable.
Page:

Top Trailers

See all »
See all trailers »