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. A Haunting in Venice
    In straddling genres, “Haunting” can get stuck in the middle. But there’s fun to be had there. What’s consistent is the elegant visuals — striking cinematography by Haris Zambarloukos — which mark this movie’s real genre as lavish old-fashioned Hollywood entertainment.
  2. Unicorn Wars
    Unicorn Wars is forcefully provocative, trying too hard to push buttons at the cost of more nuanced explorations of masculinity and power. For Vázquez, a pile of cartoon corpses makes enough of a point.
  3. Mama's Boy
    That the screenwriter’s mother was changed by her empathy for people different than her is an admirable value to have. But the film takes a somewhat myopic approach to Black’s reach-across-the-aisle activism philosophy, focusing primarily on his work toward marriage equality.
  4. Peaceful
    The film frequently dips into unintentional absurdity, yes, but it also captivates, thanks to the powers of the Gallic film-world heavyweights Benoît Magimel (playing Benjamin) and Catherine Deneuve.
  5. To the End
    Lears clearly feels earnest sympathy for her subjects and passion for their cause, but the film often replicates for viewers the same atmosphere of hopelessness that makes climate activism a hard sell for voters.
  6. The Estate
    This is a comedy that takes a vicious, over-the-top look at family greed, and fortunately, the cast members are game to play their characters’ attempts at flattery in the most unflattering manner possible.
  7. Gilda Live
    Nothing in Gilda Live is funnier than, or a substantial departure from, the material Gilda Radner does on "Saturday Night Live." But the film ought to satisfy her fans.
  8. Inside
    It’s disruptive, and then cathartic, to watch Dafoe’s primal performance dominate this museum/mausoleum and force us to side with humanity. He’s perfectly cast in a part that calls for quietly whirring intelligence.
  9. Amerikatsi
    It’s an intriguing scenario, though not always played out skillfully. For better and worse, we feel Charlie’s confinement fully, as he watches another’s life go by and yearns for a proper home of his own.
  10. Only in Theaters
    Ultimately the movie is as scattershot as it is enthusiastic. . . . But the narrative about the theaters’ present-day fight for survival is undeniably compelling.
  11. Bantú Mama
    It’s a quiet film that stays close to the central characters, but it could have benefited from broadening its view, giving context to some of the issues presented in the film — in particular how Blackness is perceived and experienced on the island.
  12. The Sound of Christmas
    The relationship between Montana and the kids is a highlight, as are some of the other secondary relationships. And though the film is as predictable and saccharine as one might expect of holiday fare, viewers who grew up in the Black church may enjoy seeing a relatable and chaste romantic story on-screen.
  13. Reckless
    Contrived and cliched as it turns out to be, Reckless has enough vitality to carry it for a while, although it never stops recalling other films.
  14. Kitchen Brigade
    Kitchen Brigade is a white-savior story par excellence, though at least it’s not difficult to swallow — the young people are lovely, and so is the food.
  15. Cassandro
    Williams, an Oscar-winning documentary filmmaker, is an expert orchestrator of naturalism. The trouble is that lucha libre, built on glitz, is anything but naturalistic. The self-assured freedom Saúl channels in bed never makes its way into scenes in the ring, which tend to tire when they should dazzle.
  16. Kim's Video
    Kim’s Video, co-directed by David Redmon and Ashley Sabin and narrated by Redmon, is less a retail history than a shaggy dog story. One that actually appears to be true. Go in knowing that and you might get a kick out of it.
  17. Shortcomings
    The movie is funny and touching, with a star-making performance by Min and a script full of lovely, self-aware little touches . . . But it’s shot like a sitcom — flat, shiny, perfunctory — and structured like one, too, with quip-heavy vignettes that resolve in pat conclusions.
  18. Remember This
    Remember This is, quite literally, a filmed play, and Goldman and Hutchens don’t make any attempts to define or elevate itself outside the confines of the stage.
  19. Cinema Sabaya
    Rotem’s organic approach steers clear of icky idealism, but its conclusions nevertheless feel worn out. Talking helps, sure, but getting people in the same room is too often the stuff of fiction.
  20. The Persian Version
    The result is a personal film that feels oddly impersonal. The tonal clutter overwhelms Keshavarz’s genuinely interesting story.
  21. Going to Mars: The Nikki Giovanni Project
    The documentary offers only what the poet is willing to give.
  22. Murder Mystery 2
    As they have in past team-ups, Sandler and Aniston maintain a charming midcareer looseness, and have a palpable affability as a duo — one can sense the fun they had making such silliness, even if the result isn’t gold.
  23. Hidden Blade
    However crisp and stylishly executed, the parts don’t quite add up to a satisfying whole.
  24. 88
    The result is dramatically wonky — and eccentrically thought-provoking.
  25. The First Step
    At once a story of legislative struggle and an admiring profile of a crusader, The First Step sometimes gets bogged down in bromides about community and common ground rather than unpacking the specifics of Jones’s approach and how it differs from his detractors’.
  26. In Viaggio: The Travels of Pope Francis
    A repetitious feel begins to take over. For some viewers, quietude may yield to boredom.
  27. Leo
    Leo sometimes has trouble identifying its audience.
  28. Pain Hustlers
    The movie is constrained by its own conscience.
  29. The Mother
    Apart from some deadpan exchanges between the Mother and Zoe, Lopez plays the role fierce. Even so, it isn’t always clear which gestures in the film should be taken seriously, and which make sport of the genre’s masculine posturing while offering an allegory about a birth mother’s sacrifice.
  30. Superpower
    Penn scores a coup by getting an on-camera interview with Zelensky on the first day of Russia’s invasion, and he films him on two additional occasions, in a video interview and in person on a later visit.
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