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 Fall Guy
    The Fall Guy is divertingly slick, playful nonsense.
    • 74 Metascore
    • 60 Critic Score
    Black God, White Devil
    At once, one of the most visually effective and artistic examples of the work of Glauber Rocha, a leading light among Cinema Novo's young directors. But as a contemporary allegory fulminating darkly against miseries inflicted on the poor by landowners and the Government, it is more mystically stylized than moving.
  3. Ghostbusters: Frozen Empire
    “Frozen Empire” is an eclectic, enjoyable barrage of nonsense.
  4. The Belly of an Architect
    The Belly of an Architect does have a humanizing element in the form of Mr. Dennehy, who brings a robust physicality to Kracklite without missing the essentially cerebral nature of the role; this is one of the best things he has done.
  5. Merchant Ivory
    Like many documentaries of this sort, “Merchant Ivory” opts to be a survey without a thesis — informative, even engaging, but lacking an argument that might drive the documentary itself forward.
  6. Arthur the King
    Wahlberg and company manage to hold your attention, and not just because there’s a cute dog in the frame.
  7. Coup de Torchon
    Coup de Torchon, which opens today at the Paris, has Mr. Tavernier's typical polish, which means it has much to recommend it. But however impressive the meticulousness and conviction on display here, or the performances Mr. Tavernier has elicited, Coup de Torchon seems strangely lacking in overall momentum and direction.
  8. JFK: What the Doctors Saw
    You will finish the film agreeing that what the doctors saw is crucial. But what it all means for America’s most enduring mystery is less clear.
  9. Who We Become
    The issues explored in Who We Become are essential, but the film’s content can occasionally feel superficial.
  10. The American Society of Magical Negroes
    Even as the movie is lampooning one trope, it keeps taking refuge in other conventions in ways that undercut the pop of its premise and make one wish for greater depth to its thought experiments.
  11. The Archies
    It’s an extravagant stunt perked up by moments of absurdity.
  12. Total Trust
    Total Trust is not a chronicle of how circumstances can go from a simmer to a boil, but rather a moment’s temperature check.
  13. Into the Weeds
    The movie makes clear just how difficult it is for one person to take on a corporation that has vast resources, dexterity in countering evidence and — the film argues — unfairly easy access to regulators.
  14. Kevin Hart & Chris Rock: Headliners Only
    The film (which feels more like a commercial than a documentary) works best as a behind the scenes hang with an odd couple.
  15. Which Brings Me to You
    Which Brings Me to You is cleverly structured but often feels too crowded with the ghosts of lovers past.
  16. American Star
    Despite an oddball taste for wide-angle lenses, the director, Gonzalo López-Gallego, can sustain a solid slow burn. Still, neither McShane nor the scenery can take the rust off the basic scenario.
  17. The Inner Cage
    The Inner Cage isn’t exactly a feast for the senses. Even so, if you’re in the mood to listen, the film’s careful conversations occasionally serve up food for thought.
  18. Havoc
    Because what Havoc lacks in characters and story, it delivers in two audacious waves of indiscriminate killing that are so bruising and relentless they make the “John Wick” movies look like “Sesame Street.”
  19. The President’s Wife
    While Deneuve brings a wonderful blend of neuroses and feigned indifference to her character, the film’s pop-feminist through line dulls the comedy, creating a more conventionally celebratory portrait.
  20. Dario Argento Panico
    Part career profile and part psychological exploration, “Panico” smoothly accomplishes the first but teases gold with the second.
  21. Abigail
    A horror flick that’s serviceable enough to make you occasionally giggle or flinch, yet is also so aggressively unambitious that it scarcely seems worth griping about.
  22. Nightbitch
    Adams is a performer whose emotional transparency can make her characters seem unguarded and appealingly vulnerable, and the movie works as well as it does in great part because of her.
  23. Upgraded
    The movie is unevenly directed, and some scenes struggle to clear even the low bar set by more polished streaming originals. But Young succeeds nonetheless in channeling the freshman thrill of plunging into an alluring adult milieu.
  24. Freaky Tales
    High on revolutionary spirit, Freaky Tales is a frisky, frantic pastiche that doesn’t always make sense. . . Yet the visuals are meaty, and the filmmakers (whose last feature collaboration was on “Captain Marvel” in 2019) show considerable affection for their movie’s setting.
  25. Girls State
    Girls State endears, but it also leaves viewers with the sense that, for a film about young women eager to take on the world’s challenges, the movie could stand to tackle a few more.
  26. In a Violent Nature
    Claiming inspiration (in the film’s press notes) from Terrence Malick and others, Nash has attempted an ambitious blend of art house and slaughterhouse whose rug-pulling ending will polarize, even as its moody logic prevails.
  27. Porcelain War
    Impressively, nearly everything was shot by the documentary’s subjects. Yet although their double duty is an awful fact of life in Ukraine, the film lurches between its varying components and tones.
  28. Thelma
    Margolin’s empathy for Thelma (he based the story on a scam perpetrated on his own grandmother) lends the film a sweetness and occasional poignancy that help mitigate much of the foolishness.
  29. Outlaw Posse
    In direct conversation with cinema’s many spaghetti westerns, Van Peebles’s shaggy script relies on winking nods and plentiful shootouts in lieu of production value. Outlaw Posse may not be innovative, but its regard for family affairs is worth treasuring.
  30. Kneecap
    The film, as a result, feels wildly uneven, though it cruises on the strength of its underdog narrative and its weird, sordid touches.
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