The New York Times' Scores

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For 20,271 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: 9,377 out of 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
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  1. The Country Club
    These visual flourishes, while derivative, are charming and well-realized. The writing, however, has none of Anderson’s wit, tending instead toward a kind of broad and fatuous slapstick that’s closer to “2 Broke Girls” than “The Royal Tenenbaums.”
  2. Revoir Paris
    Even as Winocour piles on too many complications, she retains an appreciable astringency — call it a sense of emotional realism about what it means to actually survive — that keeps bathos at bay. Together with the superb Efira, she earns your tears honestly.
  3. God Is a Bullet
    The misogyny of the movie’s risibly sadistic villains is only one distasteful thread in this sleazy saga of rescue and revenge.
  4. Desperate Souls, Dark City and the Legend of Midnight Cowboy
    “Desperate Souls” convincingly argues that there’s no other time at which Joe Buck (Jon Voight) and Ratso Rizzo (Dustin Hoffman) could have become enduring movie characters, let alone have the tenderness between them depicted so subtly.
  5. Here. Is. Better.
    The documentary, directed by Jack Youngelson, is about the slow, difficult work of reaching out, opening up and eventually finding a glimmer of hope, day by day.
  6. The Stroll
    If The Stroll is an indictment and elegy, it is also a remarkable document of the self-determination of the women and workers who learned, in the face of the worst odds, to fend for themselves and each other.
  7. Surrounded
    Wright’s lean, long face is sometimes all hard angles, and she enacts the largely stoic mien of her character with weight. If Surrounded had carried through its overdetermined premise more assuredly, she’d have made a compelling hero/heroine here.
  8. No Hard Feelings
    Lawrence is a consistently incandescent screen presence, and her role lets her run through her greatest performative hits, so to speak. She’s goofily sexy, poignantly wide-eyed and retains a beaming, you-can-deny-her-nothing smile.
  9. Take Care of Maya
    Take Care of Maya is grueling, but it is also oddly deficient, wanting for the precision and perspective essential to deriving insight from profound trauma.
  10. Stan Lee
    It’s disappointing, yet inevitable that the creation story of Lee gives way to the characters he helped create.
  11. Happer's Comet
    Sometimes wearying, sometimes pointlessly cryptic, Happer’s Comet nevertheless has a distinct way of viewing the world.
  12. Cadejo Blanco
    Had the film leaned more intentionally into the interior lives of its characters rather than positioning itself as a thriller, it may have been a more satisfying watch.
  13. Nobody's Hero
    Guiraudie is after something much different here: creating a palpable sense of the connection between fear and desire, which, sure, aren’t the most rational of our human impulses — but neither are love, marriage or jihadist crusading.
  14. Maggie Moore(s)
    Top-heavy with big names (Tina Fey, Jon Hamm) and set in a nondescript small town populated primarily by sad sacks and losers, the movie struggles to get out of second gear.
  15. The Flash
    I liked The Flash well enough while watching it. But thinking and writing about it and everything that has gone down has been dispiriting — real life has a way of insinuating itself into even better-wrought fantasies.
  16. Elemental
    The staggering design ambition balances out the plot’s affecting, relatable ordinariness.
  17. Asteroid City
    It’s comic and often wry, but like some of his other films, it has the soul of a tragedy.
  18. Extraction 2
    Burdened by its bluster, Extraction 2 is merely a loud, blithering mess masquerading as fulfilling escapism.
  19. The Blackening
    The Blackening comes with a horror movie’s requisite skittish and stalking camerawork, its creaks and breath-holding hushes, its gore and payback. But it is the friends’ flee, fight, freeze — or throw under the bus — banter that makes the film provocative fun.
  20. Users
    This negotiation between techno-pessimism and techno-fetishism is at the heart of Users, though Almada’s scattered movie struggles to keep them in balance; her broad, rhetorical voice-over is a poor match for the complexity of the film’s images.
  21. Transformers: Rise of the Beasts
    The plot is a bust. Five credited screenwriters and not one compelling stake.
  22. Dalíland
    While Dalíland occasionally edges into caricature, its take on Gala’s role in the marriage, her temperament and feverish attention to money is happily more complicated.
  23. A Woman Escapes
    [Campbell's] Audrey does nothing less than enact a kind of communion through voice and image.
    • 62 Metascore
    • 50 Critic Score
    The Angry Black Girl and Her Monster
    Fixing horror in the Black body is a tricky business, and “The Angry Black Girl” stumbles in the same way its ancestor, “Candyman” (1992), did.
  25. Persian Lessons
    Less kooky and gratingly precious than “Jojo Rabbit” or “Life Is Beautiful,” the film nevertheless also taps history with a movie-magic wand.
  26. Scarlet
    One of the attractions of Scarlet is that it doesn’t fit obvious categorization, which means that you’re not always sure where it’s headed or why. The vibe is by turns sober, warm, melancholic and playful to the point of near-silliness.
  27. Blue Jean
    The film’s most impressive quality is its nuanced understanding of how political circumstances create different spheres of life.
  28. Brooklyn 45
    Brooklyn 45 is overlong, repetitive and at times wearyingly stagy. The actors, though, can’t be faulted, convincingly turning unappetizing characters into broken people trying to move on from a war that keeps pulling them back in.
  29. Flamin' Hot
    Longoria, working from a screenplay by Lewis Colick and Linda Yvette Chávez, sprinkles lessons in self-esteem throughout. (The movie is Longoria’s feature directing debut.) And the women here — including Montañez’s mother and Judy — are more than run-of-the-mill catalysts. Still, should it come as a surprise that a movie this puffed up has a dusting of flavors that might not be real?
  30. Apes Together Strong
    The lessons here are old, and at one point, the filmmakers use the phrase “the house always wins.” But there’s hope, because there’s always hope in such tales
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