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. The Assassination Bureau
    Like an old electric automobile, the movie rolls forward, without surprises, steadily and almost soundlessly, except for the bomb explosion on the soundtrack. It's never as funny as it looks, but it's a pleasant enough ride if you like your companions.
  2. What We Do Next
    The result doesn’t make the best use of the medium’s powers, but the chatty ride does make for good food for thought.
  3. The Magic Flute
    In a way it’s kind of neat. In another way it’s kind of dopey. The movie toggles between those two states throughout.
  4. Wild Life
    Kris and Doug’s moving love story should be the emotional foundation of the documentary, but it’s edited in a bit too late. Paradoxically, however, we also crave more scenes of their individual transitions from bohemians to business titans.
  5. Rare Objects
    Holmes is a generous but indiscriminate director of actors: She has the tendency, not uncommon among actors turned directors, of extending a cast of inconsistent talent a degree of latitude better reserved for the heaviest hitters. (She doesn’t have this problem with her own performance, which is both compelling and well-situated in the context of the film.)
    • 59 Metascore
    • 60 Critic Score
    Sssssss
    Toned down, without the final fireworks, the picture would have emerged as a real sleeper for thriller fans, who should catch it anyway. It's certainly original.
  7. William Shatner: You Can Call Me Bill
    "You Can Call Me Bill" is fundamentally a case of an actor presenting himself as he wants to be seen.
  8. Quasi
    It’s dumb fun that is at times entertaining, at times flat.
  9. Trolls Band Together
    The animation is strong, if too candy-coated, and the film is clever and funny from time to time. And parents might even find their own inner boy band fever ignited alongside their kids.
  10. The Young Wife
    These are familiar, even hackneyed themes, which make the film’s relentless theatrics feel gratuitous and somewhat exhausting. Style overpowers substance, though Poe’s fantastic eye for composition and Clemons’s vivacious screen presence are undeniable.
  11. Tommy Guns
    It’s a stylized spectacle, and the effects can feel discordant. Conceição eventually chips through the horror genre enamel to expose a message about the futility of war, but the tale’s miscellany of moods dulls its ultimate power.
  12. Story Ave
    Story Ave is marred by late revelations that appear designed, in a studio-notes sort of way, to clarify motivations. What’s unspoken — and what’s seen — does enough.
  13. The Wild One
    Although the reality of it goes soft and then collapses at the end, it is a tough and engrossing motion picture, weird and cruel, while it stays on the beam.
  14. Influencer
    Harder has made good and entertaining use of a premise that could have become a simple gimmick, and Naud and Saper prove strong leads as their characters try to read each other between the likes.
  15. Imagining the Indian: The Fight Against Native American Mascoting
    In tuning the project to the key of advocacy, the directors have created a film to nod along with, not one that unpacks complexity.
  16. Stan Lee
    It’s disappointing, yet inevitable that the creation story of Lee gives way to the characters he helped create.
  17. Shooting Stars
    For what it sets out to do, detailing the bond of young boys under surreal circumstances, Shooting Stars is a relatively sturdy retelling.
  18. World's Best
    What works is the high energy, kooky cast who fling themselves into the carefree choreography — especially Magnus, a mugging, contagious delight.
  19. It Lives Inside
    It’s a promising debut from Dutta, who offers a fresh premise that proves a natural fit for the genre.
  20. Slava Ukraini
    Artistic values aren’t really the point, which is to meet Ukrainians and to see different corners of the bombarded country, where residents, Lévy suggests, have in many cases become inured to the sight of a bombed office building or to the sound of warning sirens.
  21. Giving Birth to a Butterfly
    The forced profundity of the “Butterfly” script undermines the film’s enthralling sense of atmosphere, which drips with melancholy, menace and wonder.
  22. Being Mary Tyler Moore
    The film itself is so smitten by Moore that it skips over the worst of her self-inflected wounds.
  23. Frybread Face and Me
    The movie is overfamiliar and earnest, but you can’t accuse it of not being heartfelt.
  24. The Taking
    Had it included more current images of the region and the realities of the Navajo people, it may have been more effective in replacing these myths, going beyond film analysis to altering imagination.
  25. Bird Box Barcelona
    The result is a bleakly hopeless view of human nature that the finale, while cracking the door to a further expansion of the story, fails to refute.
  26. The Monkey King
    The rare moments in which an image pauses to catch its breath can be stunning, such as a shot of an endless expanse of flaming lanterns dangling over countless white ghosts — how the artist Yayoi Kusama might have designed the afterlife. There’s enough gags that a dozen land.
  27. The Creator
    Despite the impressively sweeping C.G.I. running battles in Thai fields or seaside settlements, or the gritty “Blade Runner”-lite interludes in crowded metropolises, the story’s engine produces the straightforward momentum of your average action blockbuster — one thing happens, then the next thing, complete with punchy (sometimes tin-eared) one-liners.
  28. Nimona
    Attention has been paid; it’s just not equally distributed. The tone is uneasy teetering on anarchic, veering from giddily moronic one-liners to — more shockingly — a climax with deep empathy and visual awe.
  29. Butterfly Vision
    The film might aim to deliver an aesthetic and emotional jolt, but it is the mundane, interpersonal moments that linger.
  30. Sunday in New York
    Well, the extent of the film's disconcertion and delight for a viewer will depend upon how prone one may be to a juvenile quandary and to the nimble performing of a pleasant cast.
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