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. Blind Willow, Sleeping Woman
    It works well as a visual companion for fans of the author’s work, and as a flawed enigma for everyone else.
  2. Nocebo
    This movie has plenty going for it: excellent actors (Fonacier has a knack for coiled tension), stylish camerawork by the director Lorcan Finnegan and a point to make about economic exploitation. What’s missing is any sense of surprise.
  3. You Resemble Me
    The film needs more facts and fewer flourishes, but its closing turn to documentary footage, comprising brief snippets of interviews with Hasna’s family, is too little, too late.
  4. The Day of the Dolphin
    The Day of the Dolphin is not a movie with much personality of its own.
  5. Wildcat
    In shaping this narrative, though, Lesh and Frost have left out details that would have deepened and broadened Wildcat.
  6. Sharper
    The film’s biggest trick might be casting Moore, Stan and the positively glowing Middleton and still never quite catching fire.
  7. Sam & Kate
    Twists of fate lose their magic when they’re obvious as clumsy script contrivances.
  8. The Disappearance
    Mr. Cooper's abrupt, stylized direction can't tease much delicacy or meaning out of the material, though delicacy is all that might recommend it. John Alcott's handsome cinematography is most effective, but the beauty it imparts is skin-deep.
  9. The Watcher in the Woods
    A peculiar sort of Disney movie in that it's likely to scare the daylights out of the very young while reducing their usually sober-sided elders to unfortunate giggles. The audience in-between may well enjoy the standard spook-movie effects, but I challenge even the most indulgent fan to give a coherent translation of what passes for an explanation at the end.
  10. Being Thunder
    The film ‌is‌ gentle ‌yet indistinct, l‌‌eaving us to discern figures through a fog.
  11. Nr. 10
    What the film ultimately becomes — a sci-fi mystery, a smirking satire of religion — doesn’t possess enough actual narrative meat, formal style, or wit to justify its structural gambit.
  12. Broadway Rising
    It can’t fail to trigger shudders of recognition as well as feelings of release, but the filmmaking lacks a certain drama.
  13. Actual People
    The low-budget nature tends to expose the film’s amateurish qualities — the attempt at a vérité feel can fall flat, particularly through the acting.
  14. Fantasy Football
    Hardwick and Martin have decent chemistry, but the film lacks a true charisma that would make it a children’s classic worth revisiting.
  15. Candy Land
    Written and directed by John Swab, Candy Land is standard grindhouse fare — more serious and less conceptually adventurous than its recent counterparts, Ti West’s “X” and “Pearl” — though not without its fair share of pleasurable nastiness.
  16. Last Man Standing
    Last Man Standing comes to life only with rapturous gunfights that add Sam Peckinpah to the film maker's pantheon of heroes, and that are ear-splitting enough to jolt the audience out of its seats. These scenes have their firepower, but they would have larger impact if anyone cared which of the film's gangsters lived or died.
    • 96 Metascore
    • 50 Critic Score
    Man with a Movie Camera
    It is a disjointed array of scenes in which the producer, Dziga Vertoff, does not take into consideration the fact that the human eye fixes for a certain space of time that which holds the attention.
  18. Scream VI
    It’s tricky business balancing disturbing terror and jokey film criticism, and while this sequel occasionally pulls it off, the weight of obligations to the dictates of the franchise ultimately drags it down.
  19. The Volcano: Rescue from Whakaari
    Once the ash settles, we long for insight, but only the trauma lingers on.
  20. Idina Menzel: Which Way to the Stage?
    We already know that Menzel can belt to the back row; a richer profile would have coaxed out a more intimate voice.
  21. Back to the Wharf
    This film from Li Xiaofeng turns a crime soap opera into an allegory about the moral costs of rapacious expansion — to middling effect.
  22. The Offering
    A serviceable slab of possession horror.
  23. The Subtle Art of Not Giving a F*ck
    If The Subtle Art of Not Giving a #@%! helps people, its deficiencies as a movie don’t matter much.
  24. Beautiful Beings
    It doesn’t add up to much, despite the appealing young cast and the handsome cinematography that brings texture and visual interest to every grubby corner.
  25. Beau Is Afraid
    Despite these attractions and in spite of Phoenix’s aura and his focus — and how he plays with the character, opening Beau up a wee bit with flickers of yearning and teasingly humanizing fissures — it is tough to care about a mouse who matters so much less to the filmmaker than the shiny mousetrap where he’s imprisoned you both.
  26. True Spirit
    The message of manifesting your goals reigns supreme, which is great, but it’s worth mentioning that Watson’s willpower benefits from the privileges of financial security, family support and a curmudgeonly-turned-selfless coach.
  27. Attachment
    The ticktock horror plotting muffles the romantic spark that brought Maja and Leah together in the first place — the thrill replaced by a lukewarm chill.
  28. Somebody I Used to Know
    The film lacks the indelible details and authentic feeling necessary to encode it in long-term memory. Indeed, soon after finishing the movie, it already feels far away.
  29. The Seven Faces of Jane
    The consistency limits the ability of the directors to lean into their own style, leading to a movie that feels narratively scattered and stylistically inhibited.
  30. Cléo from 5 to 7
    Another French film that fairly glitters with photographic and cinematic "style," yet fails to do more than skim the surface of a cryptic dramatic theme.
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