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. Ambulance
    Bay’s virtuosic flouting of the laws of physics, probability and narrative coherence is meant to catapult you into a zone of sublimity where melodramatic emotion and adrenalized excitement fuse into a whole new kind of sensation.
  2. Mother/Android
    It’s a bizarre movie, but there’s enough action to help you zip through this overstuffed story even if you’re not sure why you (or Georgia, or Sam) are there in the first place.
  3. Playlist
    There are no particularly moving insights, and it falls short of a proper character study, but “Playlist” does intrigue with its droll individual parts — if not the sum of them.
  4. Lightyear
    Lightyear, directed by Angus MacLane from a script by Jason Headley, aims to please by pandering, to be good-enough entertainment. As such, it succeeds in a manner more in line with second-tier Disney animation than with top-shelf Pixar.
  5. A Journal for Jordan
    Denzel Washington directs this adaptation (the screenplay is by Virgil Williams) with care, respect and a deep-seated knowledge of the Black love stories that don’t make it to the big screen nearly enough.
  6. 3212 Un-redacted
    The lack of labeling only raises questions, slightly marring what otherwise plays like a thorough, outraged exposé.
  7. Dog
    Dog is unabashedly sentimental. A movie about a dog and a soldier could hardly be otherwise. Luckily, Tatum’s self-deprecating charm and Carolin’s script keep the story on the tolerable side of maudlin.
  8. Black Friday
    Andy Greskoviak’s script lampoons corporate apathy and retail-work ennui with the same swiftness as his voracious zombies. Unfortunately, Black Friday also tries to make viewers root for its characters, who are mostly delightful because they are such wildly mediocre people.
  9. The Outfit
    Sometimes, all you need in a movie is a great actor — well, almost all. Certainly Rylance’s presence enriches The Outfit, a moderately amusing gangster flick that doesn’t make a great deal of sense.
    • 49 Metascore
    • 60 Critic Score
    Ice Station Zebra
    Ice Station Zebra is a fairly tight, exciting, Saturday night adventure story that suddenly goes all muddy in its crises, so that at two crucial points—when water comes rushing into a submarine under the polar ice cap, and when somebody is substituting something for the object everybody is searching for—it is very difficult to know what is going on, or who knows what about it. It doesn't make much difference, though.
  11. Last Words
    The movie’s depiction of age — specifically, age as it affects movie stars — has real potency. This extends beyond its ostensible message, delivered by Kal: “We live and die by the stories we tell each other.” The stronger statement Last Words ends up making is that we die no matter what.
  12. Dead Man's Switch: A Crypto Mystery
    There’s some comedic value here.
  13. Poupelle of Chimney Town
    Trying to get a read on the film — while admiring its palette and off-kilter character details (Lubicchi has an odd vampire overbite) — keeps “Poupelle” fun for a while. But the film ultimately shies away from its most disturbing ideas, falling back on a comforting sentimentality.
  14. Hero
    Stephen Frears's film is always lively and often shrewd, but in the end Hero is at war with itself. The movie's Capraesque heart is locked in battle with its cynical, contemporary brain.
  15. The Pink Cloud
    Even as the lockdown accelerates intimacy and conflict between the protagonists, their actions feel inconsequential compared with the greater world outside.
  16. The Unmaking of A College
    The closing titles say Nelson “would not agree to be interviewed.” While others try to explain her perspective, her nonparticipation leaves an unavoidable hole. And the testaments to Hampshire’s distinctive academic culture aren’t especially germane.
  17. Call Jane
    Nagy tries to push the story beyond its cautious framing, but it’s tough going.
  18. Luck
    Luck offers fresh ideas; its only misfortune is to present its gifts in recycled wrapping.
  19. The Conductor
    As filmmaking, The Conductor takes a fairly standard approach. The most engaging portions involve music-making itself.
  20. I’ll Be Your Mirror
    There’s an implication that repressed emotions are simmering beneath the mundane, but that doesn’t always come across.
  21. Leonor Will Never Die
    The effect is by turns comical, maddening and endearing as Escobar reaches for more ambitious ideas about the political appeal of the authoritarian hero; but “Leonor” is finally too mired in its film-within-the-film frolics for more serious themes to gain traction.
  22. Utama
    While climate change shadows every anxious discussion here, it also remains at a safe remove, a vague threat embedded in an aesthetically soothing package and gently salted with tears.
  23. The Adam Project
    Blissfully under two hours, The Adam Project is no modern classic. But it does benefit from an affecting finale that pays special attention to Adam’s strained relationship with his father.
  24. Men
    The movie, an uneasy amalgam of horror and allegory, full of creepy, gory effects and literary and mythological allusions, amounts to a sustained and specific indictment of the titular gender.
  25. Fiddler's Journey to the Big Screen
    Raim is interested in how Jewison sought to preserve the story’s essence while making creative updates, and in doing so “Fiddler’s Journey” touches on issues of Jewish representation but does not interrogate them.
  26. Vengeance
    Vengeance, while earnest, thoughtful and quite funny in spots, demonstrates just how difficult it can be to turn political polarization and culture-war hostility into a credible narrative. Its efforts shouldn’t be dismissed, even though it’s ultimately too clever for its own good, and maybe not quite as smart as it thinks it is.
  27. Icahn: The Restless Billionaire
    The perspective — while producing something eminently watchable — may strike some viewers as old-fashioned and incomplete.
  28. The Contractor
    Pine and Foster sync up flawlessly, even when the dialogue fails them. This isn’t the reunion they deserve, but it’s nevertheless welcome. In silence and in action, they show you the unfathomable loss that the rest of movie never coherently expresses.
  29. Taste
    There’s something here. It’s just undercooked. The cinematic philosophy around these minimalist hallucinations comes down to whether the images ought to amount to anything, as they always do with Weerasethakul and almost always with Reygadas.
  30. All the Old Knives
    While All the Old Knives keeps cleverly resetting the table it’s laid out, it can’t fundamentally alter the meal.
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