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. Filmmakers for the Prosecution
    It’s all a reminder of the labor and risks that go into creating and preserving essential imagery of the past, even for the most notorious events in history.
  2. Cocaine Bear
    For an audience desperately looking for a good time, they’ll find it. More discerning fans of junk might see an opportunity missed.
  3. Pamela, a love story
    The collision of her good-faith lack of inhibition with institutionalized misogyny makes this Canadian’s biography a very disquieting American story.
  4. Kokomo City
    Most important, Daniella, Koko, Liyah and Dominique provide a record of their own extraordinary lives, one that resonates with clarity and compassion.
  5. The Civil Dead
    Gently discursive and virtually plotless, The Civil Dead is a walking-and-talking movie that finds uncommon humor in Whit’s need to be seen and Clay’s extreme discomfort with that responsibility.
  6. Drift
    Drift, a patient character study set on a craggy Greek island, proves a mesmerizing showcase for the actress Cynthia Erivo’s talents.
  7. Bottoms
    For most of its tight running time, Bottoms hovers on the cusp of greatness. It’s often funny but it also never delivers satisfying set pieces, and stops short of questioning — not to mention subverting — the warped high school stratification that remains one of America’s building blocks.
  8. Love in the Time of Fentanyl
    Though at times the film’s narrative momentum and focus on its subjects is lacking, it shows that drug users, to whom the drug crisis is more than an abstract idea, are perhaps the most capable of creating solutions to the overdose epidemic.
  9. Air
    Written by Alex Convery, Air nicely hits the sweet spot between light comedy and lighter drama that’s tough to get right. It’s funny, but its generous laughs tend to be low-key and are more often dependent on their delivery than on the actual writing.
  10. They Wait in the Dark
    More tingly than terrifying (and more than a smidge off-the-wall), “Dark” has a cheeky boldness. Rea, a prolific independent filmmaker, deploys the gore judiciously and his actors are above reproach.
  11. Lonesome
    Lonesome demonstrates a mature use of sex in cinema, a treatment that communicates narrative purpose without diminishing sex’s animalistic, physical side.
  12. The First Fallen
    A gay man of a younger generation, de Oliveira mourns the vulnerability of these characters’ bodies while paying tribute to their flourishes and fears.
  13. She Came to Me
    Amid the roiling neuroses of the adults, the young beloveds provide the film with a surprising emotional ballast.
  14. Guy Ritchie’s The Covenant
    For all its clichés, this furious and discomfiting film tugs on your conscience for days, making a powerful case to turn the American public’s attention back to a conflict it would rather forget.
  15. Reality
    Satter, a veteran theater director, makes a smooth transition into her feature film debut, written with James Paul Dallas. She’s skilled at evoking tension from a minimal set.
  16. The Adults
    Defa’s tight and tidy focus on communication — mostly verbal, sometimes role play (“Hug me like you haven’t seen me for three years,” Rachel instructs Eric) — adds a smart layer to this otherwise familiar tale of estrangement.
  17. Golda
    Extreme costuming often feels gimmicky, but here, it humanizes the director Guy Nattiv’s terse accounting of guilt.
  18. Yanagawa
    It’s a quiet, elemental nourishment of the senses.
  19. Dancing the Twist in Bamako
    The plot of “Dancing the Twist” is busy, the emotions big, and the screen sometimes as crowded with character and incident as a page of Dickens.
  20. Femme
    The film avoids a cut-and-dried triumphalism for something more slippery and, perhaps, more meaningful, too.
  21. Kiss the Future
    This is history told through emotions as much as through well-documented events, conveying both the resilience of Sarajevans and the power of pop music (without falling into too much celebrity self-regard).
  22. Limbo
    Sen, who also handled both the black-and-white cinematography and the editing, has a terrific eye for shot composition and sets a deliberate pace that feels implacable rather than merely slow.
  23. The Sterile Cuckoo
    Quite clearly, Pookie Adams is a marvelous role, full of tough-sweet humor, and Liza Minnelli, the daughter of Vincente Minnelli and the late Judy Garland, turns it into one of the most appealing performances of the season, a triumph limited only by the squashy movie that encases it.
  24. On the Adamant
    That Philibert doesn’t stick to a “main character,” or impose a phony narrative arc, vibes well with the facility’s free-spirited methods, even if the documentary lacks the drama of a more structured production.
  25. Sansón and Me
    The film is an unusually layered look at how the combination of privation, misplaced familial loyalty and just plain rotten luck can make the immigrant experience in America a nightmare.
  26. The Year Between
    This lived-in quality to the filmmaking supports equally relaxed performances from both veteran and emerging actors, making for an even-keeled and easy viewing experience.
  27. The Innocent
    The entertainment value of The Innocent lies not in the actual heist — which amounts to little more than a shipment of caviar at a truck stop — but in its lighthearted comedy, its by-the-numbers romance plot and its relatable family drama grafted onto an absurd premise.
  28. Film, the Living Record of our Memory
    For a documentary largely about archives, it should be better organized, but its breathless profusion of information underscores the scale of the task at hand.
    • 47 Metascore
    • 70 Critic Score
    The April Fools
    The April Fools is not a comic masterpiece, but it has a nice, understated sense of the absurd.
  30. No Hard Feelings
    Lawrence is a consistently incandescent screen presence, and her role lets her run through her greatest performative hits, so to speak. She’s goofily sexy, poignantly wide-eyed and retains a beaming, you-can-deny-her-nothing smile.
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