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. The Life of Chuck
    Ejiofor fills in Marty with dabs of personality and a sense of decency that suggests that while humanity is lost, not every individual is. It’s too bad the movie doesn’t stick with Marty, who warms it up appreciably.
  2. K-Pops!
    It has its momentary charms, mostly when it’s just .Paak and Rasheed riffing off each other, with the buoyant chemistry of a real father and son, or, when we see .Paak be less BJ under K-pop’s bright lights and more himself, just the artist with a mic and a set of drums.
  3. The Menendez Brothers
    To the extent the film has appeal, it is of the tabloid variety.
  4. Frankenstein and the Monster from Hell
    The film, written by John Elder and directed by Terence Fisher, is not without its intentional giggles. Compared with "Andy Warhol's Frankenstein," however, it is very straight and solemn, chock full of the old horror film values we don't see much of any more.
    • 40 Metascore
    • 50 Critic Score
    The Horror of Frankenstein
    It's not only painless but also fun.
  6. Allswell in New York
    If few of the melodramatic plot lines wrap up by the end, at least the members of the ensemble cast commit to their roles with naturalistic gusto.
  7. Sweethearts
    This direct-to-streaming bauble benefits from two leads whose charm effortlessly outshines the material.
  8. Absolution
    Wrapped in drab visuals and a doomy atmosphere, Absolution paints a world where lowlifes rule and neither doctors nor priests can be trusted. Yet there are moments when the beatdowns pause and a misty melancholy shines through.
  9. The Mother and the Bear
    Like any decent soap, The Mother and the Bear is powered by human dramas that are contrived, silly and ultimately a little weird. But what actually happens belie what is in execution a relatively sedate story about the spoken frictions and unspoken secrets between mother and daughter, father and son.
  10. After: Poetry Destroys Silence
    The director hasn’t found a rhythm or pace to lend momentum to this exploration of disparate material.
  11. Mary
    No genre gesture goes untapped in the deliberately hagiographic “Mary,” a coming-of-age saga about the mother of Jesus. Directed by D.J. Caruso and written by Timothy Michael Hayes, the film aims to draw multitudes.
  12. What Just Happened
    The lampooning is sometimes funny and occasionally offers up a tidbit of small truth. But much of it is awfully familiar.
  13. Witches
    If all women behaving badly can be summed up as witchy, then Sankey’s documentary too often works like a game of associations.
    • 51 Metascore
    • 50 Critic Score
    It All Came True
    Neither comedy, strictly speaking, nor good red gangsterism, nor an altogether creditable combination of both.
  15. Queens
    In this case, thematic focus is bit of a buzz kill, pulling an otherwise unique portrait onto generic grounds.
  16. The Roaring Twenties
    With a commentator's voice interpolating ultra-dramatic commonplaces as the film unreels, their melodrama has taken on an annoying pretentiousness which neither the theme nor its treatment can justify.
  17. Wuthering Heights
    Robbie and Elordi hold your attention well enough, though they’re more persuasive apart than when they’re together.
  18. Eat the Night
    The film’s escalating violence frequently smothers its sweeter, more haunting moments, such as Night using the game to ease Apolline’s fear of losing her brother.
  19. G20
    Intensions aside, G20 plays well as a silly action movie. I certainly cackled throughout, making it easy to shrug off the incoherence of the conspiracy plot and the obligatory supermom additions.
  20. Key Largo
    The script prepared by Mr. Huston and Richard Brooks was too full of words and highly cross-purposed implications to give the action full chance.
  21. The Ballad of Wallis Island
    Bereft of chuckles or even a substantial story, this maudlin musical fable never escapes the drag of a lead character with supporting-player energy.
  22. Kiss of the Spider Woman
    For the most part, though, the X factor of elegance, sensuality and verve that made MGM musicals so memorable is missing here. You want to give an encouraging grade for effort, but effort is also the last thing you want to see in a musical.
  23. Rabbit Trap
    Rabbit Trap, the horror folk tale from Bryn Chainey, is that unfortunate kind of creation: a work that so clearly possesses the tools that might make a good, captivating film, but instead ends up lost in the workshop, too busy admiring its own handiwork.
  24. The Thing with Feathers
    Cumberbatch gives himself fully to the task of abjection, plunging us into the shadows and chaos of Dad’s life. But the movie neglects to make Mum’s presence palpable — and that is a loss.
  25. Jimpa
    The men give Jimpa a warm, intergenerational quality, gesturing at the power of queer family over time. If only the film didn’t ask the audience to invest in so very many subplots; the clutter ends up sucking the air out of all of them.
  26. Kitty Foyle
    The sharpness and contemporary significance of Mr. Morley's commentary are missing.
  27. After the Hunt
    After the Hunt seems wildly desperate to be seen as provocative about things like cancel culture and the “feminist generation gap.” But my overriding sense was that some earlier, better version of the script exists, and all the political stuff was stapled on later to make it feel more “relevant.”
  28. Queen of the Ring
    It’s a middling entry into the biographical sports movie genre, and the director, Ash Avildsen, cannot resist pummeling his audience with a simplistic girl-power message.
  29. Locked
    The performers hold their ground even if the script simply goes through the motions — the car-as-prison may at first come off like a new jam, and yet you’ve definitely seen it all before.
  30. Clown in a Cornfield
    A lackluster horror movie gets points if the leading villain is a real bugaboo. But the Frendos, alas, look like poser versions of Pennywise, Art the Clown and other, scarier horror bozos.
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