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. God & Country
    Rather than come off solely as a grim forecast, the film presents possible alternatives for the country, most notably from the Rev. Dr. William J. Barber II, the minister and social activist who offers a voice of hope and inclusivity that feels genuinely healing.
  2. Longlegs
    As chilling and stylish as it is, Longlegs is a frustrating pleasure.
  3. The Beautiful Game
    The Beautiful Game is a model of a modern “nice” movie.
  4. Cuckoo
    All this gives “Cuckoo” a strange, lusty vigor that’s hugely entertaining.
  5. Lover, Stalker, Killer
    True-crime doc watchers who are in committed relationships may see Lover, Stalker, Killer, a bracing account of a lurid series of misdeeds directed by Sam Hobkinson, and breathe a sigh of relief over being out of the dating pool.
  6. Carry-On
    While the picture doesn’t break any new genre ground, it has several jaw-dropping set pieces, including an incredibly physical fight inside a speeding car. Collet-Serra’s staging is excellent throughout.
  7. Rez Ball
    It’s less a slam-dunk nail-biter than a matter of can-do self-determination, or as Jimmy’s friends say: stoodis (“let’s do this”).
  8. The Six Triple Eight
    The drama lands many of the beats of the Greatest Generation genre and its subgenre: Black service members battling on two fronts. But familiarity doesn’t halt it being illuminating and affecting.
  9. The Deliverance
    The usual possession beats are here — creepy crawling! smoking crucifixes! shivering violins! — and given their own quirky spins. (One key revelation takes place over coffees at McDonald’s.) Yet, Daniels carves space for the intimate moments that matter to him.
  10. The Piano Lesson
    What’s great about the movie is its performances. John David Washington brings fire to his role, matched by Deadwyler’s coolly furious resolve. Jackson’s role has him mostly observing, but he’s a magnetic presence. And Fisher is phenomenal, embodying a character who seems oblivious and a little dense but, it turns out, is more than meets the eye. Still, as a film, The Piano Lesson is the weakest of the Denzel Washington-produced Pittsburgh Cycle.
  11. Suspended Time
    The most appealing character in Suspended Time is Assayas, a hovering offscreen presence who delivers the confessional, gracefully digressive narration.
  12. Lousy Carter
    Between the hammering misanthropy, the herky-jerky editing and almost defiantly crummy sound mix, this exasperating film keeps you enjoyably off-balance.
  13. Free Time
    Burgess carries this succinct (and arguably slight, narratively disjointed) comedy without making you want to strangle his often willfully naïve character.
  14. Solo
    Simon’s drag spectacles may be intentionally fierce and operatic, but there’s something refreshing about this drama’s intimate scale and lack of interest in sweeping tragedies, especially in the context of queer cinema.
  15. Veselka: The Rainbow on the Corner at the Center of the World
    Even if some scenes want for energy, the compassion of the “Veselka” subjects — and its filmmaker — never wavers.
  16. A Traveler's Needs
    This is his third overall feature with Huppert, who adds drollery and an air of mystery. And there is just enough intrigue this time — one motif involves the difficulty of translating a work by Yoon Dong-ju, a Korean poet who died in 1945 after being imprisoned in Japan — to suggest hidden depths.
  17. You're a Big Boy Now
    The charm of his picture lies in the casual kookiness of his characters, plus the random and childlike unreality of the lovely, fragile, dead-panned Miss Deneuve.
    • 66 Metascore
    • 70 Critic Score
    The Rain People
    [Coppola] has made a relentlessly good-looking, accurate-feeling movie without the patronizing paranoia toward the American heartland and its natives that is so much in fashion these days.
  19. Stormy
    After so much media coverage, certain details of the events feel overly familiar. But the director, Sarah Gibson, is often able to put the episodes into fresh contexts.
  20. Y2K
    Jaeden Martell, Julian Dennison and Rachel Zegler, as the teens tasked with thwarting the apocalypse, make charming heroes — but it’s Mooney himself, as the loquacious stoner Garret, who is the film’s dopey MVP.
  21. Messiah of Evil
    The film melds a “California Girls” sensibility (the Beach Boys song, to be clear) with boho fashion and depraved supernatural horror in a way that’s feminine, mesmerizing and lurid. There’s no other horror film quite like it.
  22. Magpie
    A lean, mean revenge thriller that knows exactly what it’s about, Magpie has little originality but an invigorating clarity of purpose.
  23. My Dead Friend Zoe
    Most of the filmmaking in My Dead Friend Zoe feels workmanlike, proficient and straightforward in its storytelling — a promising feature debut for Hausmann-Stokes. The film’s best feature is its performances from a uniformly excellent cast.
  24. The Party
    It’s the tension between Sellers’s inane tact and the general tastelessness of his surroundings that gives the movie its zing.
  25. Oddity
    Coolly executed and seductively simple, Oddity, the second feature from Damian McCarthy (after the unsettling, underseen “Caveat” in 2021), is a fun, back-to-basics supernatural thriller that cares more about making us jump than making us cringe.
  26. Charley Varrick
    Siegel has decorated the movie with a lot of colorful bit characters including a chatty, sex‐obsessed old woman, but the action sequences give the film its content as well as style.
    • 57 Metascore
    • 70 Critic Score
    The Laughing Policeman
    A number of bit performances, including actual police squads and a team of emergency-room doctors, lend vivid local color and authenticity to an engrossing and adult crime caper.
  28. Brandy Hellville & the Cult of Fast Fashion
    Cult documentaries are so popular that I’m a little surprised the film didn’t head more heavily in that direction. But the chorus of voices in the movie makes it clear that consumers should be paying attention. And it’s obvious, too, that the problem is much bigger than Brandy Melville.
  29. The Phoenician Scheme
    It’s overstuffed, and thus skims and skitters across the surface of everything it touches, only glancing here and there before it’s taking off to the next story beat, the next exquisitely detailed composition.
  30. Speak No Evil
    Sleek and ever more unsettling, Speak No Evil is closely based on a far colder, downright nasty 2022 movie of the same title from the Danish director Christian Tafdrup. For the most part, Watkins adheres to the original’s overall design and trajectory while adding some new details and scenes; he also pads the running time an unnecessary 15 or so minutes.
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