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. We Bury the Dead
    We Bury the Dead is most haunting when it gestures at a world dazed with trauma and explores a path to personal closure through collective efforts.
  2. The Dutchman
    As with the play (and its 1967 film adaptation), the sexual politics here are messy. What isn’t is the filmmakers’ bold dive into the archives of the nascent Black Arts Movement for a throughline.
  3. Fantasy Life
    For a movie about two people going through a wobbly patch, Fantasy Life glides with a sneaky storytelling ease.
  4. LifeHack
    By putting us inside the internet, Corrigan makes their insular world feel uncomfortably close to ours.
  5. Secret Mall Apartment
    Secret Mall Apartment makes a compelling case that the project reverberates through the lives of the artists, and maybe even the city, to this day. Art doesn’t have to be in a museum to be valuable; it doesn’t have to be own-able, repeatable or even make sense to everyone. If it changes a few lives, then it’s changed the world.
  6. Materialists
    Is heterosexual romance doomed, is the romantic comedy? Those questions swirl with light, teasing provocation in Celine Song’s “Materialists,” a seductive, smartly refreshed addition to an impossibly, perhaps irredeemably old-fashioned genre that was once a Hollywood staple.
  7. Thank You Very Much
    Comedy was not really his subject. Laughter wasn’t either. Instead, a few interviewees suggest, it was time — a part of existence we normally take for granted. Kaufman had a preternatural ability to remain unperturbed by time passing, even when his audience became disgruntled, hostile or upset.
  8. Summer of 69
    Fortunately, Summer of 69 is a two-hander, and Fineman brings comic chops and genuine feeling to playing the tutor with a heart of gold.
  9. Operation Homecoming: Writing the Wartime Experience
    The best pieces portray combat as such a heightened sensory experience that it demands to be written about, and they suggest that war can turn ordinary men who wouldn’t think of keeping diaries into latter-day Hemingways.
  10. Ghost Trail
    The cat-and-mouse game, which involves Hamid tracking his suspect throughout campus, plays out in a relatively low-key manner, with the film relying on Bessa (and eventually, an eerie Barhom) to deepen the survivor’s dilemma.
  11. The Naked Gun
    Taken individually, a lot of the jokes might not work, but when you’re in a blizzard you don’t notice each snowflake.
  12. Invention
    Invention is committed to finding its own wavelength.
  13. Dangerous Animals
    This is a horror movie about horror movies made by people who seem to have spent more time observing horror movies than the real world. Making this work requires wit, the right tone and a ruthless sense of pace. Byrne manages all three with a sure hand.
  14. Pets
    It’s a sweet-tempered film that celebrates the animals we love and seems to have a secondary purpose, too: to convince viewers to support and even develop a love for animal rescue.
  15. Fallen
    With the warmly engaging presence of Mr. Washington to keep it at least half-credible, and with a brooding and literate noir screenplay by Nicholas Kazan, ''Fallen'' was directed by Gregory Hoblit with the same dark intensity of his earlier feature ''Primal Fear.''
  16. Weapons
    Weapons may not be about anything much other than Cregger’s talent, but the guy knows how to slither under your skin — and stay there.
  17. Predator: Badlands
    In the end, what is most surprising about Predator: Badlands is also the most obvious, which is that filmmaking matters even to formulaic, apparently indestructible franchises.
  18. Mountainhead
    Still, what Mountainhead lacks in depth, it makes up for in satirical daring. Armstrong’s hallmarks are present: a brutal sense of interpersonal power dynamics, a flair for creative profanity, an abiding belief that the worst people will succeed.
  19. Drop Dead City
    It’s an evenhanded and surprisingly entertaining account of how things got so bad, who was to blame, the way it was fixed (to some degree) and what New York inevitably lost in the process.
  20. Northern Lights
    When the film's focus is on labor history, remembered or recreated, it is extremely moving. Fortunately this is most of the time.
  21. Now You See Me: Now You Don't
    It’s all jocular and surface-level, but it’s also not trying to be anything more than old-fashioned blockbuster entertainment — neither overly serious nor, on occasion, allergic to a bit of sentimentality.
  22. Left-Handed Girl
    Expressive visuals and evocative scenes, including one involving an overactive meerkat, make Left-Handed Girl a memorable family affair. It’s only when the film introduces one too many social realist tropes . . . that the melodrama grows unwieldy.
    • 51 Metascore
    • 70 Critic Score
    The Farmer's Wife
    It is a lethargic affair with ingenuous fun. It has been nicely directed with a keen eye for the sunlight and shadows over the winding country roads, and the indoor scenes are always correct as to furnishings.
  24. My Robot Sophia
    The film skirts gimmicks to go in a more tricky and unsettling direction. It’s an almost soulful portrait of the artist under capitalism, rather than another exposé on robotics and artificial intelligence.
  25. Little Buddha
    Little Buddha displays a deliberate innocence that suits its subject, even if it contrasts so markedly with much of Mr. Bertolucci's moodier, more unsettling work.
  26. Jay Kelly
    Inevitably, the results do not quite cohere narratively or tonally. But the film still has a strange, old-fashioned charm. You can’t really imagine anyone other than Clooney playing Jay, but Sandler is equally good; he brings a pathos to Ron, a man who has perhaps loved not wisely but too well.
    • 63 Metascore
    • 70 Critic Score
    The Manxman
    The British silent pictorial translation of Sir Hall Caine's novel, "The Manxman," is filled with enchanting scenes and the story itself is quite well told.
  28. The Paradine Case
    Call it a mystery melodrama...Call it a courtroom tragi-romance or a husband-wife problem play. Call it, indeed, a social satire and you won't be entirely wrong. For it's all of these things rolled together in one fitfully intriguing tale, smoothly told through a cultivated camera.
  29. Amrum
    To Akin’s credit, the film isn’t tastelessly sentimental (see “Jojo Rabbit”), and it depicts Nanning’s awakening with the kind of subtlety and restraint that suggests his moral education will continue evolving after the end of the movie.
  30. The Last Rodeo
    The story’s conventional beats (the get-back-in-shape montage, the bad news delivered at a critical moment) cohere into a wholesome journey of long-delayed healing. The inclusion of the wonderful Mykelti Williamson, as Joe’s longtime friend and rodeo partner, injects a buddy-movie vibe that anchors the action in riding bouts that are smoothly thrilling without being punishing.
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