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. Holland
    The film’s unusual backdrop, unresolved subplots and dream-sequence fakeouts are ultimately all distractions from a story that doesn’t make much sense.
  2. Fitting In
    Its revelations about gender, sexuality and identity tend toward the obvious, and sometimes veer into the facile.
  3. This Is Me…Now: A Love Story
    The sad news is that nothing in “This Is Me … Now” is as fun — or funny — as those commercials. This project doesn’t seem to have brought Lopez any closer to serenity or levity. It’s an occasion for even more toil.
  4. Winner
    A sweeping biopic that presents her as something like an American Girl doll for the “I’m not like other girls” set.
  5. Pasang: In the Shadow of Everest
    While the interviewees speak of Sherpa with sincerity and affection, “Pasang: In the Shadow of Everest” never locates a satisfying big-picture idea or formal approach that would make it more than a straightforward tribute.
  6. Lil Nas X: Long Live Montero
    The scenes are assembled like the wall collage of pop stars that we see in his otherwise empty bedroom, resulting in frustrating interview segments that are both broad and cursory.
  7. The Ministry of Ungentlemanly Warfare
    The Ministry of Ungentlemanly Warfare is not a good movie nor a terribly enjoyable one, if you’re paying attention to it. But as background noise, it’s diverting and intermittently amusing.
  8. Shirley
    King is magnetic onscreen, nailing Chisholm’s accent and her steely persona. But there is little for her to do other than trade quips with the other characters, in a drama that is too content with telling rather than showing.
  9. Babes
    There’s substance here, and talent in spades, but it needed a little more time to gestate.
  10. Mother, Couch
    Burstyn’s character, which the actor plays with her customary expertise, is so utterly disagreeable that viewing the picture is a mostly anxious experience with not much of a reward at the end, which shifts to magic realist mode for lack of anywhere better to go.
  11. French Girl
    French Girl is a love triangle farce that’s mostly set in Quebec City but takes place on Planet Rom-com where bipedal characters act out in ways that rarely resemble human behavior.
  12. La Cocina
    The film’s epic finale feels stagy — while these real-life frustrations are anything but.
  13. Demon Slayer: Kimetsu No Yaiba - To the Hashira Training
    The combination of finale and premiere inevitably feels lopsided.
  14. Glitter & Doom
    This is not a deep movie. A lot of it isn’t even good. The images and story are chaotically assembled. The arrangements bring the music too naggingly close to the rounded, boppy, angsty gleam of certain 21st-century stage musicals . . . Even so, the people who’ve made this thing understand what the Indigo Girls are all about.
  15. Seven Veils
    In short, Seven Veils offers plenty to think about. But fans who mourn that Egoyan’s dramatic instincts have slipped in recent years won’t quite be getting a return to form.
  16. The Watchers
    The film is a little bit frightening and a big bit comically grandiose.
  17. Omen
    The film’s frenetic world-building eventually becomes numbing, in part because the uneven human dramas — each one offers a vague message about marginalization — lose momentum in all the commotion.
  18. Arcadian
    A competent director can do only so much with a poor script, and Arcadian is littered with shortcuts and screenwriting clichés. It is vague to the point of careless, and often seems to be inventing rules for its monsters as it goes along.
  19. Together Brothers
    Street-wise older children might find it to their taste; but all the new trappings cannot disguise the fact that "Together Brothers" is an old story, being retold perhaps wisely, but not exceptionally well.
  20. The Greatest Hits
    There’s an interesting film dancing around the edges of The Greatest Hits, but there’s both too much sentimentality and not enough thought, and that’s too bad.
  21. Bob Trevino Likes It
    Any genuine feeling emanates from Lily. Ferreira pitches herself into the trite story line with enthusiasm, and her verve breathes life into even the most leaden lines.
  22. Cold Wallet
    The storytelling economy (small cast, one main location) is welcome, but none of the four characters is the sharpest tool in the shed, and whatever insights Hodierne intends on the cutthroat world of crypto remain elusive.
  23. The Gutter
    In addition to ridiculous — think the Wayans brothers’ parody pictures, or “Napoleon Dynamite” (that movie’s director, Jared Hess, is an executive producer here) — the humor is almost uniformly broad.
  24. Egoist
    As the film leans into melodrama, it loses both its friction and frisson, and a steaming-hot premise turns into something cold to the touch.
  25. Star Wars: The Mandalorian and Grogu
    As its return to the IMAX — I mean, silver — screen, the saga could do worse than this movie. With their main guy’s face behind metal, that’s a more than respectable showing.
  26. Fly Me to the Moon
    As the movie progresses, its story grows convoluted and belabored.
  27. Trap
    The bigger the scope and the more Cooper’s psychology is explained, the less taut the film feels.
  28. The Exorcism
    There’s a bizarrely choppy feel to the movie, as if an hour or so had been pulled out in an attempt to slim down an overstuffed story. This throws off the rhythm, stripping the film of its tension and frequently leaving us wondering what’s going on, and not in the good, creepy way.
  29. Ride
    Only Howell truly embodies the spirit of the Old West.
  30. The Mountain Men
    The frontiersmen are wild and woolly, and most of the Indians remain scalp-collecting savages. [13 Sep 1980, p.C14]
    • The New York Times
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