The New York Times' Scores

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For 20,324 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: 9,408 out of 20324
  2. Mixed: 8,449 out of 20324
  3. Negative: 2,467 out of 20324
20324 movie reviews
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  1. Ride or Die
    The movie gracefully captures the rhythms of intimacy, how it deepens quicker in stolen time. But even as they develop a kinship, the women themselves remain ciphers.
  2. Seance
    Seance meanders for most of its running time, wavering between tones and styles. It’s both self-aware and overly serious. It tries to be a murder mystery, a slasher, a coming-of-age tale and a haunted house flick all at once.
  3. Domino: Battle of the Bones
    With its deep ensemble, the movie doesn’t want for colorful characters, and Davis keeps his cast loose, unvarnished and unleashed. But the movie lacks focus when it moves between its larger-than-life plotlines.
  4. My Wonderful Wanda
    The film, written by Oberli and Cooky Ziesche, satirizes class divides and xenophobia (“the Pole” constantly carries a derogatory connotation here), but never takes the satire far enough to be memorable, challenging or anything beyond whimsical.
  5. Shotgun Wedding
    Much of the dialogue feels canned and phony in the style of a badly written sitcom. But coming out of J. Lo’s mouth, I believed it.
  6. Lucy The Human Chimp
    By turns alarming and poignant, Alex Parkinson’s infuriatingly deferential film recounts how Carter — passionately attached to Lucy and admittedly clueless about how to facilitate her adjustment — abandoned her life to live with Lucy on a remote island. Her devotion is extraordinary, but her obliviousness is shocking.
  7. Queen Bees
    Each of these stalwarts bring more than charisma to their roles, and when the writing itself displays some snap (which admittedly isn’t that often) the performers bite right into it.
  8. Mrs. Harris Goes to Paris
    Despite its gleeful showcasing of beautiful clothes and vibrant midcentury Parisian sights, the film is caught between its fantasies and its principles, landing somewhere more annoyingly clueless — and dull — than it ought to be.
  9. Jagame Thandhiram
    Some moments feel fresh, but the movie’s patterns are familiar: scheme, slaughter, repeat.
  10. America: The Motion Picture
    A raunchy, aggressively inane cartoon that flips the bird — both onscreen and thematically — to a strain of patriotism that insists that men who profited from slavery were sober-minded heroes whose vision of democracy remains flawless, bro.
  11. Sweet Girl
    For this action film, the director Brian Andrew Mendoza favors a utilitarian style. His color palette leans toward grays, blues and browns. His fight scenes are not flashy, or even particularly memorable, but they are clear, effectively conveying the necessary information about whose fist has connected with whose face.
  12. Enfant Terrible
    The film feels both hermetic and declarative, and it’s folly to constantly remind a viewer of Fassbinder’s impossible-to-replicate alchemy of color, lighting, angles and passion.
  13. Romeo Is Bleeding
    Ms. Olin looks great, and she's a lot more fiery in this hit-woman's role than she has been when trying, in tamer films, to be nice. But otherwise, "Romeo Is Bleeding" adds up to much less than the sum of its parts. Mr. Medak fared better in the service of true, wrenching stories than he does under the spell of this material's desperate fancifulness. The joke isn't much of a joke to begin with, and it wears thin.
  14. The Night We Never Met
    The Night We Never Met is never lifelike enough to evoke the madly romantic New York atmosphere it seems to be after. The actors try hard, but they are hamstrung by too many broad strokes and silly inconsistencies.
  15. A Taste of Hunger
    The effect is a movie that resembles nothing so much as the centerpiece of the Malus menu — a hot dog made with elevated ingredients.
  16. City of Ali
    The nuances of Ali’s relationship with Louisville — where Ali faced discrimination as a Black American and controversy for his refusal to be drafted — tend to get lost in the celebration of civic pride.
  17. Five Years North
    There’s much to unpack here, from the preponderance of Latino agents in ICE to the mental health effects of immigration, evident in Luis’s panic attacks. But the film, frustratingly, stays on the surface, settling for easy emotional moments.
  18. Mr. Jones
    But the screenplay, by Eric Roth and Michael Cristofer, can sound pat enough to diminish the characters.
    • 52 Metascore
    • 50 Critic Score
    Brannigan
    Unfortunately, Mr. Wayne's first film trip to London doesn't appear to have been necessary. He and his busy company only serve to make Brannigan a commonplace crime caper.
  20. Flag Day
    Penn gives him a vivid, wheedling desperation that’s weirdly moving, and the younger Penn has clearly inherited the emotional expressiveness of her mother, Robin Wright. Maybe that’s why Flag Day feels as much a love letter from Penn to his own daughter as the story of someone else’s.
  21. Red Rocket
    It’s funny and abrasive, but also coy and, in the end, a bit tedious.
  22. Mothering Sunday
    Mothering Sunday never conveys the intensity of erotic passion, the ardor of creative ambition or the agony of grief. Even though it is ostensibly about all of those feelings, it handles them with a tastefulness that is hard to distinguish from complacency.
  23. Asia
    Asia and Vika struggle to emerge as full-fleshed characters from the movie’s dull, blue-grey frames, while the script rushes through provocative plot turns in its bleak procession toward a wrenching conclusion.
  24. Electric Dreams
    In the failure of Electric Dreams to blend and balance its ingredients properly, plot elements are lost (the brick), credibility is overtaxed (the lovelorn computer), and what remains is high tech without being high art.
  25. Rebel Hearts
    The onslaught of information certainly impresses by illuminating a rich and not-often-discussed slice of feminist history, but the execution is distractingly flashy and gratingly unfocused.
  26. Jurassic World Dominion
    This is a very crowded movie — so many species of dinosaur, and I’m so bad at keeping track of them that my 8-year-old-self is no longer speaking to me. They are variously menacing, ravenous, bizarre and kind of cute, but the frenzied live-action and digital special effects rarely produce moments of Spielbergian awe.
  27. The Viewing Booth
    Though moderately compelling to bear witness to one individual’s objections in real time, The Viewing Booth touches on gloomy truths about spectatorship in the digital era that might have felt novel a decade ago.
  28. We Need to Do Something
    Despite some nifty freak-outs, the movie’s buildup can lack a certain snap.
  29. From Beyond
    The symbolism here is dream-book basic.
  30. My Name Is Bulger
    The “nothing to see here” focus gives the homey-feeling film the whiff of a sanctioned production.
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