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. Charlotte
    In the end, Charlotte is bereft of the spirit of the artist who made the uncanny “Life? or Theatre?” What an even better tribute the movie would have been had it also taken heated energy from Salomon’s art.
  2. The Good House
    The trouble with this cinematic Trojan horse is that the superficial blandness dominates the frame. It’s hard to feel the story’s stakes when the images are always indicating no danger ahead.
    • 83 Metascore
    • 50 Critic Score
    The Wrong Man
    Frighteningly authentic, the story generates only a modicum of drama.
  4. Zero Contact
    There’s a vicarious pleasure to be found in watching Hopkins, the octogenarian actor, getting the hang of technology that allows him to film himself without the usual hovering crew.
  5. The Real Charlie Chaplin
    The tell-all promise of the film’s title dwindles away into predictable perspectives from members of his family. But this introduction to Chaplin shines whenever he performs, displaying his comic genius for doing everything wrong to absolute perfection.
  6. The Trip
    The Trip is occasionally fun, but other films have handled gleeful gore and psychological torture with a far more skillful touch.
  7. The Spine of Night
    Alas, all the world-building filmmakers may contrive doesn’t count for much if they don’t put it across visually. And this heavily rotoscoped vision does not get where it needs to be to achieve genuine trippiness.
  8. Goodbye, Mr. Chips
    Should it survive—and I suspect it will — it will be largely because of the restrained, affectingly comic performance of Peter O'Toole in the title role. Everything else in this British public-school romance is either out of symmetry or out of date.
  9. Evangelion: 1.0 You Are (Not) Alone
    When the material is condensed, nearly everything that made the first two-thirds of the television series distinctive _ — the deliberate pace, the wry humor, the subtle (for anime) characterizations — is lost. “Evangelion” becomes just another giant-robot story.
  10. After Blue (Dirty Paradise)
    It’s unclear what Mandico is trying to say, if anything, and the film overstays its welcome — even the wildest visuals lose their power to stun after a while — but “After Blue” certainly is sui generis.
  11. She Paradise
    Though Nestor’s understated performance is powerful at times, one leaves the film not fully satisfied, wanting for a stronger arc.
  12. Mayor Pete
    Showing Buttigieg at one public appearance after another, “Mayor Pete” more often plays like outtakes from the trail than an inside glimpse.
  13. Being the Ricardos
    The Lucy in Being the Ricardos is scarcely interested in messy politics. Mainly she plays the role of the jealous, suspicious wife and harridan star who everyone really does love even if she’s a bitch. That shortchanges and flattens Ball, despite Kidman’s efforts.
  14. Mary Shelley's Frankenstein
    This is a bland, no-fault Frankenstein for the 90's, short on villainy but loaded with the tragically misunderstood.
  15. No Future
    In flattening everything into a single shade of funereal gray, “No Future” has none of the ineffable, multifaceted complexity of life.
  16. Hypnotic
    The twists in Hypnotic may not be brilliant, but they are abundant, making for the sort of straight-to-streaming treat best enjoyed on a couch, with company who will laugh with you and let you yell at the screen.
  17. Speer Goes to Hollywood
    “Speer” is an intriguing document, highlighting the ease with which the most reprehensible figures are able to whitewash their legacies. But once you settle into its wavelength, the documentary begins to feel simplistic, like a one-track excuse to roll out rare film clips and testimony.
  18. Isolation
    Though there are a few standout creations, the anthology is mostly muddled, privileging a heightened version of 2020 over a reality that was plenty scary on its own.
  19. Love Is Love Is Love
    The cumulative effect of so much enlightened sitting around is that the movie doesn’t move. There is a lack of action, both visually and emotionally.
    • 75 Metascore
    • 50 Critic Score
    Nightmare Alley
    Despite some fine and intense acting by Mr. Power and others, this film traverses distateful dramatic ground and only rarely does it achieve any substance as entertainment.
  21. They Say Nothing Stays the Same
    The landscape can go only so far in expressing Toichi’s mind-set, and the movie turns hokey when it dramatizes Toichi’s inner thoughts.
  22. Prey
    Despite a female-empowerment theme and an adversary fairly bristling with fancy weaponry, Prey never builds a head of steam.
  23. Sneakerella
    If this spin on the tale is not quite diverting enough to justify its existence, the movie, directed by Elizabeth Allen Rosenbaum, is at least not a soulless exercise.
    • 68 Metascore
    • 50 Critic Score
    Jailhouse Rock
    Presley fans may not like the idea of his being a churlish, egotistical wonder boy of television and the screen for a good half of the picture.
  25. Aulcie
    There is a contagious thrill to the movie’s portrait of its subject’s achievements, especially his whirlwind romance with the Israeli supermodel Tami Ben Ami. But when it comes to Perry’s moments of struggle, Aulcie trips up.
  26. Cadence
    Cadence, which is the first feature Martin Sheen has directed, allows the director and his son Charlie ample opportunity to grapple with one another, as well as with questions of racial harmony and with another of Mr. Sheen's sons, Ramon Estevez. The result is well meaning and at times even gently likable.
  27. Keep Sweet
    While the ethical issues of the property situation add complexity, the film’s efforts to balance the arguments on both sides aren’t convincing.
    • 58 Metascore
    • 50 Critic Score
    Let's Scare Jessica to Death
    Although a disappointment generally, there are several things going for it; among them, the pleasantly aggressive title, which has, as is proper, only the most casual relation to the movie.
  29. The Advent Calendar
    It is bizarre and dizzying and oddly beautiful in its fervor, as fantastical props and effects distract from the nonsensical plot. But this script also clumsily insists that its protagonist, a woman named Eva (Eugénie Derouand) who uses a wheelchair, is murderously obsessed with overcoming her disability.
  30. Bedazzled
    Maybe the brand of British banter and buffoonery that Peter Cook and Dudley Moore bombard us with in Stanley Donen's Bedazzled would be very funny if it came in small bursts at not too frequent intervals in an expansive musical comedy or revue. But fired at you exclusively and endlessly for more than an hour and a half in this pretentiously metaphorical picture...it becomes awfully precious and monotonous.
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