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. New Gods: Yang Jian
    Even for fans of this animated universe, New Gods: Yang Jian can’t turn its viewers into believers.
  2. Magazine Dreams
    Magazine Dreams bludgeons viewers to show off its sensitivity.
  3. Run Rabbit Run
    Gloomy and vague, Run Rabbit Run is a moody, noncommittal tease replete with the usual spectral signifiers: clammy dreams, scary drawings, unsettling masks. Snook does everything but rend her garments in a performance that only emphasizes the busy vapidity of Hannah Kent’s script.
  4. We Have a Ghost
    The film grasps onto anything that will amuse itself for a scene.
  5. Pathaan
    Pathaan is in some ways a save-the-world superhero movie without suits, and while less self-serious, the hefty length can lag. More is not always better — though the gusto of Padukone speedskating to the rescue at one point goes a long way.
  6. Kompromat
    Salle’s approach leaves the physical details of Mathieu’s escape foggy. It’s not always clear how long Mathieu spends in hiding, or how he acquires the tools needed to sustain his flight.
  7. The Man in the Basement
    Somewhere in “The Man in the Basement” there is a smart psychodrama sharpened by political urgency, but what we get is a middling think piece that too quickly loses momentum — and peters out by the end.
  8. Passages
    The misery unfurls in a straight timeline of dramatic scenes that leap over the lived-in moments that make up a relationship.
  9. Radical
    Despite its foundation in reality, Radical is as by the books as it gets.
  10. Landscape with Invisible Hand
    Landscape With Invisible Hand mashes up the teen romantic comedy and alien-invasion horror genres to campy, mixed results.
  11. The Deepest Breath
    We learn precious little about the personal lives of these impressive individuals. When it comes to what drove them, how they associated with others or how they dealt with danger, The Deepest Breath offers only surface-level observations.
  12. The Blind Man Who Did Not Want to See Titanic
    The camera stays close to Jaakko, always at his eye level, blurring everything around him. But the script struggles to channel the character’s wonderfully playful, acerbic spirit.
  13. A Lot of Nothing
    In his feature debut, the director Mo McRae displays a nice way with actors and a gift for visual tension, but in aiming for absurdist humor, he lands on something more vexing. It’s the script — by McRae and Sarah Kelly Kaplan — that’s the problem.
  14. Mixtape Trilogy: Stories of the Power of Music
    This film, relatively modest in scale but broad in ambition, offers three stories of music makers and devotees. It’s a mixed bag, alternating conventional homily with genuine, substantial analysis.
  15. La Syndicaliste
    Sometimes the best reason to watch a movie is because Isabelle Huppert is in it. That’s pretty much true of La Syndicaliste, a tangled if certainly watchable French true-crime drama about dirty political doings in the nation’s nuclear energy industry.
  16. Leave the World Behind
    After a while, the movie plays like a bulleted list of everything wrong with America — fair enough — but hurled so relentlessly at the audience that you can only assume the goal is for anyone watching the movie to find something they agree with. In the onslaught, the narrative tension dulls into passivity, both for us and for the characters.
  17. A Family Affair
    King is not exactly outclassed by Nicole Kidman, Kathy Bates and Zac Efron. But the movie’s script, by Carrie Solomon, puts her at a disadvantage.
  18. The Killer
    The character is boring and so is this movie, but like the supremely skilled Fincher, who can’t help but make images that hold your gaze even as your mind wanders, Fassbender does keep you watching.
  19. Damsel
    Damsel is evidence that studios still don’t realize that a “strong female lead” is not enough to make a movie good. More is required: a strong set of supporting characters, a strong plot, a strong sense of what makes a movie interesting to an audience.
  20. 99 Moons
    Gassmann clearly wants to explore the state of love and sexuality in the 2020s — there are more than a few passing parallels to Joachim Trier’s “The Worst Person in the World” — but he succeeds only in conveying the pathologies of two people who can’t figure out what they want from each other.
  21. Wildflower
    Shipka ably handles the responsibility of leading the story, but the director Matt Smukler has a harder time balancing the charming and empathetic ensemble performances with the script’s constantly judgmental tone.
  22. Gods of Mexico
    This nominal portrait of people isn’t interested in what they have to say.
  23. The Miracle Club
    The filmmakers go for too-easy laughs; the movie doesn’t seem to trust its audience to sit with the pain, much less to find the achy humor in it, as a more assured film might. The actors here are good, but they are not miracle workers.
    • 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. Jackpot!
    Directed by Paul Feig from a screenplay by Rob Yescombe, the movie sustains an admirably zany energy, though its jokes often feel underwritten. (“You can’t just steal people’s panic rooms. What are you, Jodie Foster?”) Worse, though, it seems intent on mixing its metaphors.
  26. The Forger
    Peren is clever to favor mischief against a backdrop of gloom, but in doing so she draws a frustrating distance between her subject and the audience.
  27. Under Capricorn
    It is an overlong, overlabored essay on the torments of conscience and love which Mr. Hitchcock has beautifully filmed in Technicolor but pointed in glaring blacks and whites.
  28. 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?
  29. 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.
  30. The Wrath of Becky
    The subsequent slaughters are inventive, the pacing lively and the cat-and-mouse structure entertaining; but the rodents themselves are — aside from their suave leader, played by Seann William Scott — such misogynistic morons that Becky’s predominance is never in doubt.
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