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. One Life
    In trying to capture this almost stoic modesty, the film, directed by James Hawes, falls into a dramaturgical trap.
  2. The Universal Theory
    Though visually handsome, the film leaves the audience with the sense that, like a grad student, it is still working out its big ideas.
  3. The End We Start From
    It’s as much a movie about the hazy struggles of early motherhood as it is about survival in a destroyed world — and it’s best when it leans into the former, with characters’ discussing why anyone has a baby at all.
  4. PAW Patrol: The Mighty Movie
    The film has no shame in being formulaic in plot or execution. Skye’s zero-to-hero plot arc is predictable as they come, though it’s easy to see why younger audiences may find it relatable.
  5. The Critic
    Visually, The Critic is polished enough, despite some splashes of apparent digital lacquer. But Marber hasn’t supplied an incontrovertible motive to bind Nina to Jimmy. And there is something arguably troubling about the way McKellen’s character has been conceived.
  6. Typhoon Club
    The narrative unfolds in a series of short, sometimes enigmatic scenes that have the effect of a series of simple declarative sentences. They describe the action without ever interpreting it. After a while, one realizes that there really isn't an awful lot to interpret.
  7. The Inventor
    The Inventor is rife with somewhat didactic lessons — about power, innovation, curiosity — yet a presumably unintended one might be that lessons themselves, however insightful, are not always captivating.
  8. The Peasants
    As the story’s melodrama grows repetitive, so do the visuals.
  9. The Monk and the Gun
    However sincere and justified, the digs are so innocuous that their main purpose seems to flatter Western viewers who will nod along as they coo at the landscapes and chuckle knowingly about ugly truths they think have nothing to do with them, but do.
  10. Widow Clicquot
    Ambitious as it is in scope, the film is also somewhat charmless and dour, caught between wanting to deliver the passion audiences expect from a period romance and constructing a suspenseful underdog tale. It’s too bad it never finds a winning balance.
  11. Queen of the Deuce
    The style is stilted, the look rudimentary, with Abhilasha Dewan’s cheeky animation supplying an occasional visual lift. Yet as Wilson’s former errand boy guides us around her onetime fiefdom — conjuring an area fizzing with smut until doused by Giuliani — we may sense the milieu, but its matriarch remains stubbornly indistinct.
  12. Daddio
    Somehow, Penn never allows Clark’s inappropriateness to become predatory, and Johnson’s marvelously expressive features reveal details the dialogue declines to provide. Yet if there’s a finer point to any of this — beyond yes, talking to strangers is sometimes beneficial — it eluded me.
  13. Paul Robeson: ‘I’m a Negro. I’m an American.’
    The movie sticks to the shallow end.
  14. Horizon: An American Saga - Chapter 1
    It’s easy to smirk at these and other miscues; Costner also has a weakness for speeches, like many filmmakers. But he has a feel for the western and the landscapes of the West, and among the good scenes mixed in with the groaners is a beautifully filmed chase set against a midnight-blue sky that finds two riders galloping after a third, who changes horses mid-chase.
  15. Reality Winner
    The film is clear in showing how the media put her into boxes: a traitor, a terrorist, a progressive, an innocent, a lost cause. But who is Reality Winner? This documentary doesn’t dig deeper than her patently well-meaning exterior.
  16. The Road Dance
    Shifting between stagy sincerity and startling realism (the labor scene is particularly colorful), The Road Dance is a vividly rendered, if ultimately schematic portrait of feminine resilience.
  17. The Boys in the Boat
    The script is as subtle as a bonk on the nose, and the editing repeats every beat twice-over in broad pantomime and meaningful looks.
  18. Waiting for the Light to Change
    In her feature debut, Tran is intermittently successful at capturing the listlessness that defines that liminal space between adolescence and adulthood; as “Waiting” progresses, malaise envelops her characters like the gray fog over the shoreline.
  19. Lisa Frankenstein
    Cody gets a little subversive with it all — Lisa’s stepsister, Taffy, for instance, is not at all what this kind of movie usually serves up, and that feels refreshing. But the rest is pretty predictable from the start, and so it starts to wear a little thin after a while, a title in search of a story.
    • 51 Metascore
    • 50 Critic Score
    The Alphabet Murders
    Unfortunately, neither Mr. Randall's Poirot nor the gags, chases and red herrings offered are inventive, comical or charming enough to make this more than a routine run through of clichés and clues.
  21. Albert Brooks: Defending My Life
    While Brooks deserves acclaim, he deserves it in a format as compelling and dynamic as he is. “Defending My Life” is simply too flat.
  22. Elio
    Before long, the fleetingly liberated child and the filmmakers’ imaginative playfulness are boxed up, and the whole thing turns into yet another superhero adventure.
  23. Wingwomen
    The Frenchwomen twist on the supersquad action movie has its charms, but it’s not enough to eclipse the script’s uninspired angles.
  24. Terrifier 3
    Leone’s new “Terrifier” film sags under its predecessors’ trappings: a bloated running time, an unfocused script, uneven pacing
  25. Ultraman: Rising
    If Ultraman wants to conquer the world, he’ll have to try something livelier than a cartoon that looks like a kids movie but lurches about like a saccharine family drama.
  26. Imaginary
    Fans typically expect well-executed jump scares, fun plot twists and the occasional rubbery monster. What they probably don’t expect is the sophisticated allegory that Imaginary appears to be flirting with — and comes close to pulling off — before losing its nerve.
    • tbd Metascore
    • 50 Critic Score
    A Bullet for Pretty Boy
    The film looks a little as if they had taken the members of the cast of, say, "Beach Blanket Bingo" and put them in costume and given them old cars to drive and told them to play it for real. For real it isn't.
  28. IF
    This is a film that spells out its intentions for an audience still learning its ABCs, a film where Michael Giacchino’s misty violins never stop insisting how to feel, where Krasinski’s goofy dad literally wears a heart on his chest.
  29. Night Swim
    The problem with Night Swim is that it’s trying to say a little too much, which isn’t a complete pleasure-killer, but can get distracting.
  30. Land of Bad
    Land of Bad, directed by William Eubank from a script he wrote with David Frigerio, is commendable in the abstract for depicting the realities of 21st-century warfare both narratively and thematically.
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