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. Another Simple Favor
    Another Simple Favor is a two-hour vacation I’m not mad to have taken.
  2. Picture This
    For all the potentially crushing challenges Pia faces — losing her business, not living out her dream of being a photographer, alienating her beloved younger sister — Picture This, keeps it light, never letting the sharp edges of potential failure come into focus.
  3. Art Spiegelman: Disaster Is My Muse
    Everyone is engaging, the art is magnificent and the whole thing pleasant, if overly cozy and hagiographic. That’s too bad. Then again — with “Maus” and his other work — Spiegelman has already produced his definitive biography.
  4. Dreams
    Dreams might feel distant and frosty, but it has a lot to say about inequality and the prerogatives of privilege.
  5. How to Get Ahead in Advertising
    The movie grows more and more desperate until it seems to go to pieces like poor brilliant Bagley. The final madness has less to do with wit than with a cinematic effect. The film's good humor, however, is consistent.
  6. Rats!
    If anything, the onslaught of weirdness is hypnotizing. As a visibly small-scale and local undertaking, the film feels genuinely connected to a vision of working-class Texas and its various characters.
  7. The Blue Trail
    Alas, Tereza, whose interior life remains largely obscured from start to finish, isn’t a compelling vessel for whatever Mascaro is trying to do in this movie. And, as it drifts from one place to another, one encounter to another, one sketchy idea to another, so may your attention.
  8. Being Maria
    If the meandering nature of the film makes the psychic fallout seem tonally scattered, it nevertheless conveys the sense that she’s sleepwalking through life — and always fighting to snap out of it.
  9. Young Hearts
    Naturalistic performances and quiet scenes of summertime idling bring to mind Luca Guadagnino’s drama “Call Me By Your Name,” though Young Hearts is a more wholesome, and ultimately more cliché, endeavor.
  10. Last Take: Rust and the Story of Halyna
    The film’s biggest letdown lies in its cursory tour of who Hutchins was apart from her final hours. Despite testimony from Hutchins’s friends that repeatedly references her artistry, Mason rarely incorporates clips of Hutchins’s cinematography outside “Rust.”
  11. Nirvanna the Band the Show the Movie
    While much of this is muddled and repetitive, it is also now and then slyly amusing.
  12. Are We Good?
    Part of the accomplishment of Feinartz’s film, which at times comes across as too deferential, is that it fitfully succeeds in cracking his shell.
  13. Project Hail Mary
    Lord and Miller, almost by default, accentuate the positive to the detriment of the very movie that they’ve painstakingly created. Like a lot of Earthlings, they seem more at home in a far-out fantasy than on our ordinary, terrifying planet, which is why this particular message of hope ends up being a bummer.
  14. The Running Man
    There’s nothing wrong (or incorrect!) about either Wright’s desire to please or the righteousness, and at times you can sense a bit of anger wafting off the screen, even if Wright and Powell mostly seem to be having a very good time.
  15. Pink Floyd at Pompeii – MCMLXXII
    It is a glimpse into a vanished era, of self-indulgence mixed with wide-eyed experimentation, to watch ''A Saucerful of Secrets'' - with the band banging wildly at its instruments above Nick Mason's drumbeat - as musicians and director take everything very, very seriously. [13 May 1984, p.32]
    • The New York Times
  16. Queens of Drama
    With playful visual flourishes, a willfully garish palette and winks galore (including one to the French feminist writer Monique Wittig), Langlois’s debut has stylistic ambition for days. But it’s not as genre-fluent as “Love Lies Bleeding” and “I Saw the TV Glow,” or as swoon inducing as its volatile couple deserves.
  17. Like Father Like Son
    This slick movie proves how much fun it can be to watch first-rate actors challenge our credulity and rise above a second-rate script.
  18. Roofman
    Here is a protagonist who clearly straddles the line between right and wrong; the trouble is that in Roofman, that line wobbles, leaving the movie somewhere between a fun-loving caper and a finger-wagging morality tale.
  19. 1-800-on-Her-Own
    This is the kind of relatively pedestrian musician documentary that’s intended mostly for fans, who will encounter plenty of nostalgia. It’s a vulnerable glimpse at an artist figuring out what the creative life looks like in a world that keeps changing.
  20. Heads of State
    It’s loud albeit harmless japery, best appreciated with your air-conditioning cranked to movie theater levels.
  21. Words of War
    Some deviations are inevitable, but the expository dialogue — and the convention of having Russian characters speak English, with British accents — are distractions. Even so, Politkovskaya’s bravery, and Peake’s commitment to honoring it, is enough.
  22. The Bride!
    It doesn’t always make sense tonally and intellectually, but the whole thing is energetic, handsome and stocked with enough expert, appealing performers to hold your interest through the rougher, less coherent passages.
    • 71 Metascore
    • 60 Critic Score
    The Ring
    An old and rather a thin story, but well told and well acted by Carl Brisson, Ian Hunter and Lilian Hall Davis.
  24. Everything's Going to Be Great
    By turns heartfelt and, especially in the ghost tête-à-têtes, irksome, the movie is helped substantially by its cast, especially Cranston, who brings a welcome sincerity to a quixotic, potentially cloying character.
  25. Bone Lake
    The only serious liability is the script, which never quite goes far enough. The provocative questions don’t have provocative answers, and though the film gestures toward edginess, it feels altogether too tame, lacking a bunny-boiling moment that would really make you squirm.
    • 71 Metascore
    • 60 Critic Score
    Blackmail
    It is a murder story based on a play by Charles Bennett and in spite of its many artificial situations and convenient ideas it possesses a dramatic value that holds the attention.
  27. Anemone
    There is, of course, enormous pleasure in watching Daniel Day-Lewis, an actor of extraordinary sensitivity whose ability to convey a character’s interiority — the delicacy and the violence — can seem almost mystical. The problem is that as Anemone continues, the strength of the actor’s performance lays bare the banality of the writing, and Ray’s grip on your imagination loosens even as Day-Lewis’s remains fixed.
  28. Drunken Noodles
    Drunken Noodles is at its best when it drifts into flights of fancy that subvert expectations.
    • 70 Metascore
    • 60 Critic Score
    Murder!
    Although the final scenes in Murder...do not live up to many that have gone before and there is a strange absence of true psychology in these closing stretches, there are episodes in this picture that are possessed of considerable merit.
    • 82 Metascore
    • 60 Critic Score
    The Lodger: A Story of the London Fog
    This is an impressive study in anticlimax, more distinguished than the usually quoted classic example of "For God, for country and for Yale." The picture has a very, very excellent begining, a mediocre middle and a most deplorable ending.
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