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. Aisha
    “Aisha” resists tidy answers through the gentle force of its performances and by staying on the rebuffs and uncertainty Aisha suffers.
  2. Touch
    Touch rekindles a treacly genre that I didn’t realize I missed. Its tender performances and gut-punch reveals are classic tear-jerker ingredients. Add to this a natural, inordinately sensitive approach to intercultural love — mercifully, without a sense of righteousness or obligation.
  3. This Closeness
    The film’s stripped-down aesthetic is mirrored in the actors’ performances; they deliver straightforward lines with a hint of self-consciousness and discomfort, even between friends and lovers. It’s as if the closeness is projected through a scrim, which creates a kind of purposeful clumsiness the audience can feel, too. When actual physical contact occurs, it’s almost jarring.
  4. Zootopia 2
    If Zootopia introduced us to an original animal world, this one believes in building out a universe. It can be thrilling, even if it gets lost in its own creation.
    • 51 Metascore
    • 70 Critic Score
    Dead Reckoning
    For those with a taste for rough stuff "Dead Reckoning" is almost certain to satisfy.
  6. Masters of the Universe
    The self-mockery is good-natured rather than disdainful, a joke even the most earnest fans of the old cartoon can appreciate. (One hopes.)
  7. Lilies
    Lilies, an extravagantly mannered revenge fantasy by the Canadian filmmaker John Greyson, raises the level of protest at religious prohibitions against homosexuality into a piercing operatic cry.
  8. Wild Diamond
    Khebizi brings palpable desperation to the role of Liane, despite the limited script, while the cinematographer Noé Bach intimately frames Liane like we’re intruding on her space.
  9. Fandango
    Kevin Reynolds, who wrote and directed Fandango, is for the most part making just another coming-of-age film. But at its best, his debut feature has an appealing boisterousness, and it successfully walks a fine line between sensitivity and swagger.
  10. Emilia Pérez
    From the start, the movie hooks you because of its abrupt turns, how it veers into places that, tonally, narratively and emotionally, you don’t expect. Yet while Audiard has productively combined classic genres and present-day sensibilities before, even the more personal, confessional numbers here add little more than novelty.
  11. Black Phone 2
    Derrickson has crafted a sequel that is remarkably different from the original — up in the frosty mountains, this is more of an ax-murderer ghost chase than a trip to a serial killer’s horrific basement — and with that comes a ratcheting up of grisly theatrics.
  12. Den of Thieves 2: Pantera
    Den of Thieves 2: Pantera isn’t groundbreaking, but it delivers what it promises: lovable scoundrels trading bullets and traversing borders.
  13. HAIKYU!! The Dumpster Battle
    Though “The Dumpster Battle” is squarely aimed toward fans of the series, it has charms that may lead new viewers to the anime (streaming on Crunchyroll and Netflix) to follow the story from the beginning. Because even if crows and cats battling in a dumpster doesn’t appeal to you, there’s still the promise of watching good athletes play a good game — and that’s worth a seat in the bleachers.
  14. Brats
    The film’s through-line of woundedness is by turns touching, irritating and occasionally illuminating.
  15. I Am: Celine Dion
    These awkward segments weaken the powerful emotional atmosphere of witnessing Dion transcend her circumstances. Especially when she lets the cameras stick around, showing some of the most grim health-related scenes I have ever seen of a superstar onscreen.
  16. Bread & Roses
    While the immediacy of the storytelling may blur out precise details, it excels at building stakes.
  17. Bugonia
    Really, though, the reason to watch Bugonia is its leads.
  18. Backspot
    Its early execution strains and wobbles some, but “Backspot” sticks its landing.
  19. A Desert
    Lynch is a difficult influence to wield responsibly, yet Erkman keeps it largely under control: A Desert, if at times too ambitious, certainly feels distinct.
  20. The Devil's Bath
    The film is grounded in a harrowing historical reality, about the terrifying lengths to which women will go to liberate themselves from destructive domestic conditions. Franz and Fiala bring out this reality’s latent horrors through a series of suspense-building strategies.
  21. Chronicles of a Wandering Saint
    The superior second half, in which Rita’s reality is upended, eases into a realm of fantasy that is admirable — and more effective — because of its uncanny, inventive minimalism.
  22. Ladybird Ladybird
    Ladybird, Ladybird is a tough, utterly absorbing film even at moments when it seems to skirt some of the fine points of Maggie's difficulties.
  23. The Vourdalak
    Surrender to its vintage vibe and its emotional kick may surprise you.
  24. The Monkey
    The farce props up the nihilism, and gives The Monkey a strangely hopeful refrain.
  25. Heretic
    Grant is clearly having a lot of fun in Heretic, and it’s enjoyable watching him go hard here with cold, predatory eyes and a smile that turns from uneasily friendly to straight-up fiendish.
  26. Downton Abbey: The Grand Finale
    The director, Simon Curtis, deftly choreographs what feels like a series’ worth of brief interactions into a mostly satisfying whole.
    • 58 Metascore
    • 70 Critic Score
    The Split
    That first hour, although it is not too well or tightly written, is extremely well directed, by Gordon Flemyng, with fine chases on the order of "Bullitt" and meaningful uses of the split screen when the credits are on.
  28. The Secret of Roan Inish
    What prevents "The Secret of Roan Inish" from evaporating into cuteness or from being smothered in mystical overkill is the director's firmly human perspective.
  29. Murder by Decree
    Mr. Hopkins's screenplay is funny without being condescending, more aware of history, perhaps, than Conan Doyle's mysteries ever were, but always appreciative of the strengths of the original characters and of the etiquette observed in the course of every hunt.
  30. F1: The Movie
    An enjoyably arranged collection of all the visual attractions and narrative clichés that money can buy, “F1” is very simply about the satisfactions of genre cinema and the pleasures of watching appealing characters navigate fast, exotic cars that whine like juiced-up mosquitoes. It’s also about the pleasures of that ultrasmooth performance machine, Brad Pitt.
Page:

Top Trailers

See all »
See all trailers »