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. Suspensión
    Uribe directs for sensory effect rather than context, which is minimal and parceled out as needed, and deals with the politics of the construction project glancingly, an approach that registers as alternately poetic and coy.
    • 71 Metascore
    • 60 Critic Score
    No Man of Her Own
    Well acted and clearly photographed little drama of musical hall life in Paris.
  3. New Order
    Franco practically dares the viewer to call his conclusion far-fetched. And for better or worse, the director’s dynamic filmmaking makes some of his projections stick.
  4. Wolfwalkers
    As much a joy as this movie . . . is to behold, its scenario is more than a little overbaked and overdrawn.
  5. The Duke
    It is a pity that Richard Bean and Clive Coleman’s script mires Bunton in a soggy family drama about an unresolved death; an elder son (Jack Bandeira) who flirts with crime; and a wife, Dorothy (Helen Mirren, so sheepish as to be near invisible), who is humiliated that her husband prefers prison to a stable home.
  6. Never Gonna Snow Again
    Utgoff is irresistibly compelling, instilling in his character a silent yet singular presence worthy of the “superhero” status that he ultimately acquires.
  7. The Christmas Chronicles 2
    As Kate and Jack’s adventures turn to lessons in love and courage, the movie starts to feel mechanical, like the Village’s churning candy cane mill. But its output is always as sweet.
  8. Billie
    If Billie gives short shrift to its subject’s artistry while underscoring her life’s squalor, it still offers pockets of valuable insight.
  9. Beau Geste
    Mr. Wellman's film seems dominated by the tremendous shadow of its predecessor.
    • 50 Metascore
    • 60 Critic Score
    The Black Windmill
    Michael Caine's exasperating cool robs this very well‐made movie of some of its potential excitement.
  11. Fear of a Black Hat
    Flattering the daylights out of Rob Reiner and his Spinal Tap crew, Rusty Cundieff turns Fear of a Black Hat into an unapologetic Spinal Tap imitation. And there's no point in faulting Mr. Cundieff for such derivativeness, because Fear of a Black Hat is too savvy and cheerful to warrant complaints.
  12. A Call to Spy
    One wishes the movie had been imagined as a limited series, which would give viewers an opportunity to spend more time with these women whose lives were so clearly rich and textured — not to mention, courageous.
  13. Midnight in Paris
    A week is too short a time frame. A longer view might have left a deeper impression.
    • 73 Metascore
    • 60 Critic Score
    Marnie
    At once a fascinating study of a sexual relationship and the master's most disappointing film in years.
  15. Blackpink: Light Up the Sky
    While its salute to the artists flicks at the cynical side of their industry, it is less a probing profile than a backstage pass for fans of the band (a.k.a. Blinks) old and new.
  16. Rabid
    It took (Cronenberg) several films to come into his own as a filmmaker, but even his earliest work reflects his obsessive interest in the human body as raw material that can be transformed -- for better or for worse -- by strong emotions. [08 Jun 2004, p.E3]
    • The New York Times
  17. The Donut King
    Too sentimental in its final act, “The Donut King” doesn’t quite manage to connect the dots between Ngoy’s financial troubles and the voracious capitalism that enabled his rise. The result is a cheery portrait of immigrant entrepreneurship that lacks political punch.
  18. White Noise
    Close observation can illuminate contradictions, and Lombroso, semi-edifyingly, catches his subjects in moments of opportunism or hypocrisy, even if those aren’t much of a trade for spending 90 minutes in this company.
  19. Demons
    All the people and places in Demons seem imported. The dialogue is spoken in colloquial American and matches the lip movements, but it sounds dubbed. Nonetheless, there are some apt observations.
  20. Radium Girls
    The script, by Mohler and Brittany Shaw, tends to be overtly formulaic, but the emotional resonance of the two leads carries this movie.
  21. Baby Doll
    Mr. Kazan keeps the courtship bouncing between the emotional and the ludicrous. The nonchalance of the pursuer is its most entertaining grace.
  22. The Thing Called Love
    Mildly engaging, formulaic.
  23. Embattled
    When it’s showing its sensitive side, the film, scripted by David McKenna (“American History X”) and directed by Nick Sarkisov, unexpectedly shines.
  24. Ainu Mosir
    Rather than relying on dialogue, Fukunaga allows emotion to shine through musical performances — a school anthem, folk songs, drunken karaoke. These scenes speak for themselves, and they build upon the story with quiet power.
  25. Holiday Affair
    An amiable little romance in which a boy meets a girl at Christmas-time, and the sentiments are quite as artificial and conveniently sprinkled as the snow is provided—for those who like such things—in RKO's Holiday Affair.
  26. The Little Things
    Thanks to Hancock’s craft and the discipline of the actors, it’s more than watchable, but you are unlikely to be haunted, disturbed or even surprised. You haven’t exactly seen this before. It just feels that way.
  27. The Capote Tapes
    There’s some fascinating and provocative material in The Capote Tapes that is diluted by the director Ebs Burnough’s insistence on teasing a question that, arguably, has a self-evident answer.
  28. The Last Blockbuster
    As this pleasant but ultimately inconsequential movie’s narrative thins out, it emphasizes again and again that there is, as of now, only one operating Blockbuster store in the world. Luckily its proprietor is the warm and ingratiating Sandi Harding.
  29. Billie Eilish: The World's a Little Blurry
    “Blurry” isn’t triumphant, strictly speaking. Instead, it relies on the accretive power of the mundane. It moves forward without narration, and sometimes without narrative rhythm — often it feels almost observational, like a nature film.
  30. Nasrin
    This extraordinary woman, seemingly incapable of despair through roughly two decades of struggle, remains elusive. There’s something daunting about this degree of implacable selflessness, and it has a curiously flattening effect on a movie that feels less emotionally complex — less enraged — than it ought to.
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