The New York Times' Scores

Select another publication »
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
view
per page
  1. Ceddo
    Ceddo is a folk tale presented as the kind of pageant you might see enacted at some geographic location made famous by history and now surrounded by souvenir stands. It's not cheap or gaudy, but it's an intensely solemn, slightly awkward procession of handsomely costumed scenes designed to pass on a lot of information as quickly and efficiently as possible.
  2. A Million Miles Away
    In peddling the mythical American dream narrative, the film misses an opportunity for conflict or character development and falls short of delving into bigger, more interesting themes: assimilation, immigration, gender roles, family conflict.
  3. Eureka
    Ultimately, the film feels a bit misshapen.
  4. Love in Taipei
    A charming but ultimately formulaic exploration of cultural identity.
  5. Mr. Jimmy
    “That is the meaning of tribute. Not showing myself at all. There is no ‘me’ to begin with,” Sakurai, who is now 59, says at one point. This is a terrifying notion, but the movie doesn’t choose to run with it.
  6. The Marsh King's Daughter
    A game Ridley, along with a brief cameo by a soulful Gil Birmingham, provides the necessary stakes for Burger’s film not to idle in narrative mud.
  7. The Storms of Jeremy Thomas
    The whole effort comes across more as an advertisement for Thomas’s genius — and Cousins’s obsession with him — than a true portrait of a discerning producer of outsider cinema.
  8. Remembering Every Night
    Ghosts linger, cameras linger. This is pensive, slow-slow cinema, like Bela Tarr with color but less compositional heft or, sometimes, clarity.
  9. Oceans Are the Real Continents
    The much-in-vogue hybrid mode proves more cryptic than edifying this time around.
  10. Taylor Swift: The Eras Tour
    It’s a shame that the shots here are all over the place — the stage, the sky, too close, too far, too kinetic; only occasionally, in medium close-ups, just right. The director is Sam Wrench, and it’s unclear whether he’s making a movie or a salad. Under the circumstances, he’s done the best he probably could.
  11. Sly
    Stallone’s flair for words — and his references to Arthur Miller’s “A View from the Bridge” and the 1968 dynastic drama “The Lion in Winter” — make one wish he’d talked about much more than his greatest hits and misses.
  12. Finally Dawn
    Finally Dawn is at its most intriguing as Costanzo entrusts his curly haired, wide-eyed naïf to maneuver the looking glass of Italian versus Hollywood cinema. Hint: Italy comes off more soulful.
  13. Waitress: The Musical
    This is Bareilles’s show in every way. While she doesn’t quite match the emotional subtlety of Jessie Mueller, who originated Jenna, she has grown in leaps and bounds as an actress and provides a warm anchor for the movie.
  14. Poolman
    Pine wisely avoids winks to the audience. But he whiffs at making the mystery especially gripping, leaving one instead to savor the moments, like a note-perfect Bening calmly talking Pine’s befuddled pool man through his latest setback.
  15. Ezra
    What keeps the story sweet is the chemistry between Cannavale and Fitzgerald, who build a bond worth cherishing.
  16. Society of the Snow
    The material is fundamentally gripping, and parts of it are tough to resist . . . But Society of the Snow is a perverse movie to watch the way most people will see it — on Netflix, in the comfort of their homes, with a refrigerator nearby.
  17. Old Dads
    Burr is skilled at this, for sure. And Woodbine and Cannavale, who are better actors overall, slide into Burr’s mode with ease. The results will prove satisfactory and maybe cathartic for his fans.
  18. Neither Confirm Nor Deny
    The story assembles before our eyes like an illustration in a manual for superspies.
  19. My Sailor, My Love
    The actors are in full command of our empathy, especially Brennan’s gray-haired caretaker who, when she cracks open her heart, seems to glow from within.
  20. Mean Girls
    It’s not especially tart and is undeniably over-padded, but its charms and ingratiating likability remain intact.
  21. Mountains
    As a drama, Mountains, whose characters move fluidly between English and Haitian Creole, is too low-key to leave much of an impression. But as a portrait of intergenerational tensions in an immigrant family, it is poignant, and it captures an area of Miami that is rarely seen onscreen.
  22. Another Body
    Another Body is most persuasive when experts weigh in on the reality-upending aspects of deepfake technology and image-based sex abuse.
  23. Wish
    Oddly — and rather fascinatingly — this is a film about a spiritual revolution.
  24. Infested
    There are no fresh ideas in the French creepy-crawler Infested, yet this first feature from Sébastien Vanicek scurries forward with such pep and purpose that its shortcomings are easily forgivable.
  25. We Grown Now
    Some of this is effective, even if too many of Baig’s filmmaking choices — the honeyed cinematography, the score’s agitated violins and Malik’s preternaturally knowing voice-over — finally overwhelm the story’s fragile lyrical realism.
  26. The Book of Clarence
    If The Book of Clarence doesn’t totally work, its combination of the sacred and the irreverent is enchanting. It gets bogged down in its own mud, but it’s certainly shooting for the stars.
    • 75 Metascore
    • 60 Critic Score
    Blast of Silence
    Molly McCarthy, however, is deceptively unaffected as the heroine, and her spirited attack on her two big scenes has the quality of the film as a whole—over-eager, unsuccessful, but worth watching.
  28. Daaaaaalí!
    Dupieux captures Dalí’s self-promoting genius but the constant trickery eventually becomes a little tiresome.
  29. This Much We Know
    As eloquent as it is, This Much We Know may also be exploitative.
  30. Subject
    Subject is at its clearest when interrogating the material conditions of documentary filmmaking, as during a segment about whether the subjects of nonfiction films have the right to be paid for their participation; it feels slipperier when glossing issues of diversity and representation.
Page:

Top Trailers

See all »
See all trailers »