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. A Very Jonas Christmas Movie
    While the vanilla songs lack magic, the dad jokes and brotherly roasting feel like their own kind of delightfully unserious gift.
  2. Stop the Insanity: Finding Susan Powter
    Curtis shows up late in the picture, and her grounded presence helps Powter’s hard-luck story resonate more sympathetically. The documentary ends not with the promise of a comeback, but with a resolution to restore some, well, sanity to Powter’s life.
  3. Happy Holidays
    The movie favors an unflashy presentation that allows its themes to emerge organically. But the interlocking structure, which owes more to the early work of Alejandro González Iñárritu than “Rashomon,” undermines sustained tension, and the dramatic architecture is slightly wobbly.
  4. Little Trouble Girls
    Djukic has a fine eye and is a talent to look out for, even if here, like Ana-Maria, she chose the wrong girl.
  5. I Love Boosters
    Too many elements of Riley’s sophomore feature hang like excess fabric from what would otherwise be a stunning, smart ensemble.
  6. With Hasan in Gaza
    While there is value in any documentary evidence of this time and place, Aljafari’s allusive approach seems ill-matched with the urgency of his subject matter.
  7. Shelter
    The spy-versus-spy scenario set out by the screenwriter Ward Parry isn’t going to give the maestro Mick Harron (“Slow Horses”) any sleepless nights. But as a vehicle for Statham’s bone-breaking escapades, it’ll do. And the story avoids some of the expected clichés.
  8. A Great Awakening
    It’s an earnest account of a religious movement that still resonates — Whitefield’s practice was instrumental in the growth of the Methodist church, and his sermons and lectures are still in print today.
  9. Lee Cronin's The Mummy
    Cronin thrills as ever to luscious gross-out scenes.
  10. Unidentified
    While decently absorbing, Unidentified eventually goes way more Hollywood than either of those films, with a plot that defies logic (raising issues of both structure and perspective) and undermines the movie’s message — unless the pulpy swerve is itself intended as a kind of statement.
  11. The AI Doc: Or How I Became an Apocaloptimist
    The result is less clarifying than bewildering, though it’s often very interesting.
  12. Joe's College Road Trip
    There’s a reason that “Road Trip” is premiering in the middle of Black History Month. While expansively anarchic to a fault, the movie’s anger, and its pride, is convincing.
  13. Protector
    While the final twist adds some depth to its madcap revenge plot, it’s Jovovich who keeps the film’s moodiness from unintentionally playing for laughs.
  14. Our Hero, Balthazar
    So many details in this comedy-drama (a characterization worth quibbling with) are meant to provoke. And Our Hero, Balthazar teases with the promise of a darkly intelligent film. Not unlike its protagonist’s tears, the effect is dismayingly performative.
  15. Backrooms
    Ambiguity is key to this style of horror, where space and atmosphere do most of the heavy lifting, and though the story isn’t over-explained, mind you, it’s filled out enough to break its own uncanny spell.
  16. Marc by Sofia
    Two creative decision makers more at ease behind the scenes, they are, perhaps, not the most natural chroniclers of their own careers and social lives, and as the film goes on, it strains to arrive at even the most basic personal revelations.
  17. Youngblood
    “Hockey will teach you what you need to know about life” is a cliché, and while Underwood’s delivery of the line almost redeems it, James’s work makes you believe it.
  18. BTS: The Return
    This is, in short, as polished as you would expect of a work about a pop behemoth, a companion piece to their new album that’s less a revelatory look at the meaning of their time away than a sentimental welcome back for the group and its fans. For the BTS Army, that’s likely more than enough.
  19. Apex
    This Netflix thriller is a fun-enough time that is elevated by the performances of predator and prey.
  20. Deep Water
    This picture is not as ridiculous as a “Sharknado” movie — Harlin is out to make a genuine nail-biter, and he largely succeeds, maintaining interest even as the two-hour mark approaches. But it’s not enough to make you genuinely afraid to go into the ocean this summer.
  21. Swapped
    Pelage and plumage noticeably lack the tactile quality of a Pixar extravaganza, but the animation gets a pass for the movie’s purposes — namely, to impart a message that communities should trust each other, whether they’re covered in rotely-rendered feathers or fur.
  22. Newborn
    Parker the writer has tended to overload his screenplays with messages. He does some of that here, as well. Parker the director, however, is gifted with crews and capable actors and that shows, too. The members of his ensemble — especially Oyelowo — find ways to keep us guessing, and caring, to the end.
  23. Passenger
    A demon won’t take no for an answer in Andre Ovredal’s tense but confounding supernatural thriller.
  24. The Seduction of Joe Tynan
    The principal thing that keeps "The Seduction of Joe Tynan" engrossing is the level of acting it sustains throughout.
  25. Underland
    This is that rare movie that could do with a longer running time, which would, perhaps, give it greater depth.
  26. No Picnic
    It is impossible to separate Mr. Hartman's writing and direction from Mr. Horton's smooth, sophisticated camera work, which offers a broad view of the cluttered streets and also peers up narrow stairwells to suggest Mac's claustrophobic life. However their collaboration worked, ''No Picnic'' does not look or sound quite like any other film, and that's more than you can say about most movies of any size.
  27. Decorado
    Vázquez’s deadpan directorial style, which occasionally swerves into grim spoofs of Looney Tunes-style antics, perfectly suits the animated dystopia.
  28. Renaldo and Clara
    Renaldo and Clara is so personal it borders on being obscure, yet it remains surprisingly deficient in personality.
  29. Falling from Grace
    In the end, "Falling From Grace" is more a series of separate reflections than a sustained story. But Mr. Mellencamp does bring out the naturalness of his actors, and he has assembled a large and believable cast.
  30. The Devil Queen (1974)
    De Fontoura, 86, has an assured hand for both hand-to-hand combat and queer aesthetics. (Ângelo de Aquino’s high femme costumes are scandalous.) But the more character-driven scenes drag, at times stopping the film’s pleasures cold with slack dialogue. Still, Gonçalves — a rageful, heartbreaking gangster — and the film he dominates are must-sees for fans of under-the-radar queer movie history.
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