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. Good Fortune
    This is a movie that wants to have it both way.
  2. Diciannove
    If the dearth of character development is a gag, Diciannove doesn’t offer much of a punchline. But Tortorici’s filmmaking is stylish enough to make even the slipperiest sequences pop.
  3. Sovereign
    Sovereign is most intriguing for its subtle, if incomplete observations of the more complicated realities of both sides of the law that inform and ripple from Jerry’s paranoid world.
  4. Sunlight
    A little of Sunlight, which she directs and co-wrote with Allen, goes a long way. But there’s still something to seeing a performer go for broke, purging a character’s shame and despair through a screwy, confessional sense of humor.
  5. Slumlord Millionaire
    Because Slumlord Millionaire has assembled a dynamic and engaging group of activists, it seems churlish to complain that it hasn’t found a way to make the material cinematic.
  6. Brick
    Brick is built almost entirely of hints and twists.
  7. North
    North, a playful modern fable about a boy in search of new parents, doesn't always work, but much of it is clever in amusingly unpredictable ways.
  8. No Sleep Till
    No Sleep Till is an understated — and somewhat sleepy — film. Its mood of boredom tinged with dread sometimes verges on outright listlessness.
  9. Chainsaw Man - The Movie: Reze Arc
    As Denji and his adversaries converge on and above city streets, it’s possible to enjoy the combat on the level of pure sensation. Here, the rapturous ability of anime to isolate and prolong movement and emotion within a frame is on full display.
  10. Kerouac's Road: The Beat of a Nation.
    The film does not fully succeed, though that’s a tall order for anyone. Too many things need wrapping up by the end, so the concluding rhythm drags. There’s just too much to say, and that always leads to saying less than you might want.
  11. GOAT
    It’s a story with few surprises and mostly rudimentary emotional concepts, but is enlivened by artwork with colorful texture and a dynamic animation style.
  12. Mogambo
    In the advancement of the romance, which itself is hot stuff, for what it is, several capable actors do entertaining jobs.
  13. Late Shift
    Benesch’s beautifully controlled performance — a balancing act of anxious, fidgety physicality and poker-faced concentration — shows us the difficulty of honoring each patient’s humanity when workplace conditions demand efficiency over empathy. Still, this message runs thin as the story progresses, a bit too evenly, through its various cases, giving the film a languid, repetitious quality.
  14. Mrs. Parkington
    Writers, director and producer have all of them obviously conspired to give the two stars a rapturous workout and let reason fall where it may. As a consequence, we see here a picture in which the clichés of ideal romance have been piled up so richly and warmly that a point of suffocation is almost reached.
  15. In Whose Name?
    The film, which could definitely focus more on the multiple-Grammy-Award-winner’s music, peters out around 2024, a year before Ye released a song called “Heil Hitler.” But Ballesteros, who started the project when he was 18 years old, does his best to portray a reflexive iconoclast without excusing the inexcusable.
  16. Men of War
    The film’s often frenetic editing tends to weaken this strong story. But this hopeless history does have the flair to deploy Depeche Mode’s “Never Let Me Down Again,” capturing the tragic absurdity to Goudreau’s ambition.
  17. Peacock
    Watching Matthias on the job is entertaining enough, even as the movie’s allegorical ambitions are stymied by a narrative inertia, and by a sneaking suspicion that we’ve seen this sort of social commentary before.
  18. Madame Bovary
    Robert Ardrey has put it together into a literate and playable script and Vincente Minelli has kept it moving with a smooth and refined directoral touch.
  19. Tinā
    The earnest mood and regional touches of Tinā, a New Zealand movie that centers on a choir instructor who teaches her students to harmonize, distinguish it from others using the familiar formula.
  20. The Last Viking
    Jensen’s story of a flinty ex-convict (Nikolaj Lie Kaas) and his brother (Mads Mikkelsen) seeking buried treasure while evading a criminal heavy (Nicolas Bro) feels disjointed and elusive, though not without its charms.
  21. Normal
    Normal — which heralds, according to the press notes, the birth of yet another franchise — navigates its cartoonish excesses with expected competence. As for Odenkirk, he’s golden; as mythology nerds will recall, Ulysses was also known as the Master of Cunning.
  22. Obsession
    Barker shows real promise as a horror storyteller; his instincts about when to hold back and when to plunge the knife are scalpel sharp. If only the sexual politics at play in Obsession didn’t feel so callow.
  23. Good Luck, Have Fun, Don't Die
    It’s actually when the film returns to the main, quest-driven plot that the film lags, particularly around the middle; there’s just not enough interest among the team members and the action to sustain narrative tension, and the film feels like it loses its drive.
  24. Soul on Fire
    In terms of dramatic oomph, the problem isn’t that everyone behaves with decency and compassion, but that everyone unfailingly says what they mean, robbing the movie of moment-to-moment friction, dimension and subtext, even as its lessons in gratitude and self-forgiveness hit the mark.
  25. Merrily We Roll Along
    Merrily We Roll Along is an OK movie of a good production of a great musical: on balance, another worthy addition to the Stephen Sondheim canon, which can always stand to be expanded.
  26. I Can Only Imagine 2
    Ventimiglia becomes the sequel’s saving grace.
  27. Love+War
    Love + War chooses to go wide rather than deep, resulting in a movie that, while pleasingly dynamic, offers less psychological insight than the photographs she has gambled everything to take. And perhaps that’s as it should be.
  28. Crime 101
    Like lovingly warmed leftovers, it has its satisfactions: a charismatic cast, evocative Los Angeles location work, the sort of granular details on diamond couriering and insurance valuation that might give impressionable viewers ideas.
  29. Scream 7
    The results are, by turns, amusing and lightly scary, though never truly surprising.
  30. Destination Tokyo
    The chief fault, in our estimation, with the Warners' "Destination Tokyo" is that there is just too doggone much of it and is all too conventionally crammed in.
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