The New York Times' Scores

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For 20,323 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 20323
  2. Mixed: 8,448 out of 20323
  3. Negative: 2,467 out of 20323
20323 movie reviews
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  1. The Woman in Cabin 10
    A body isn’t the only thing that goes overboard here.
  2. Swiped
    James has a great capacity to pull fragility and strength together, and her performance is the movie’s backbone. The movie itself is both shakier and shallower.
  3. The Rip
    Damon is the only one keeping his head above water, mostly because he’s the only one given the space to make decisions and navigate different dynamics. Everyone else is trapped in a kiddie game of cops and robbers.
  4. Fuze
    Despite a plot (by Ben Hopkins) bursting with double- and triple- crosses, the movie feels programmatic, its characters bland cogs in a Rube Goldberg machine.
  5. Mr. K
    Naturally, the guests are weirdos, though none are very memorable. And since Glover himself is the ultimate weirdo, it all feels a bit much.
  6. Truth & Treason
    No matter its flaws, Truth & Treason is very well acted.
  7. The Moment
    The Moment lights on substantive subjects throughout, yet partly because it’s about one individual’s ostensible struggles rather than the larger system, its bite is toothless.
  8. The Drama
    Zendaya and Pattinson are both enjoyable to watch, but she’s given too little to do and he’s given too much.
  9. Dream Eater
    Less, here, would have really frightened more.
    • 71 Metascore
    • 50 Critic Score
    Crime Wave
    Mr. de Toth's tour is a brisk, pictorial one, honeycombing the shadowy metropolitan fringes and byways where vigilant police sift a gallery of chameleonic habitués. But this canvas narrows considerably, at times unconvincingly, in appraising the plight of Mr. Nelson.
    • 57 Metascore
    • 50 Critic Score
    A Woman's Face
    As melodrama, sheer and simple, the story behind Anna Holm's murder trial is often superbly effective, but when it attempts to become a study of emotional anguish it merely betrays the essential hokum of which the film is constructed.
  12. King Ivory
    While this slick film wants to use their stories to put faces to the fentanyl epidemic, Swab’s genre instincts get the better of him.
  13. David
    It can be a preachy and po-faced movie, to be sure, but a handsome one.
  14. Moses the Black
    A high-strung, faith-based hood drama, Moses the Black has admirable intentions but lacks precision.
  15. Goodbye June
    The story, about a dying matriarch and her stricken adult children, paints by numbers with stock characters and cloying scenarios.
  16. How to Make a Killing
    The story and the actors make How to Make a Killing easy to drift along with, even if it never coheres tonally, logically or, really, any which way.
  17. Midwinter Break
    The saving grace of Midwinter Break is the pair of stellar leads, who would be appealing to watch just fumbling for their reading glasses. That also happens to be the pinnacle of action, however, within this prosaic drama.
  18. The King of Color
    We don’t need to hear about Herbert’s party years after his first marriage faltered. But he still had a cool idea, and his explanations of printing technology and color chemistry are almost enough to carry the film.
  19. Breakdown: 1975
    If you’re an aficionado of ’70s cinema, there’s probably not much new here. The films covered are certainly a murderer’s row of masterpieces, but they’re familiar to cinephiles. Yet despite its lack of depth, there’s value to Breakdown: 1975 as an introduction to an era, particularly for younger people or newer movie lovers who might relish learning about the films of the time and the ways they weave into history.
  20. Night Patrol
    The lumbersome conspiracy-building in the front half, paired with flashy visuals and some performances fitting for a crude stoner comedy, make this a bleary experience overall.
  21. Dracula
    The movie’s intermittent flippancy is its lifeblood, with Christoph Waltz’s cheeky vampire hunter delighting even when he seems to be off doing his own thing.
  22. Peaky Blinders: The Immortal Man
    In its quest to give us a little bit of everything, it finally delivers not nearly enough of anything.
  23. Ladies First
    The easy feminism of winks and role reversals quickly wears thin.
  24. Pressure
    It’s strange to find yourself briefly comforted, when the invasion eventually arrives, by the spectacle of war and bloodshed, if only because an actual conflict is occurring. It’s the standard stuff of war movies, as men charge the beaches of Normandy, but at least we’ve moved on from the weather reports.
  25. Saccharine
    The supernatural elements — angry ghosts and sunken places — feel like forced metaphors next to Hana’s real-life horrors, and, worse, they diminish the film’s compelling specificity.
  26. In the Blink of an Eye
    With In the Blink of an Eye, Stanton is juggling quite a bit, including many landscapes to create and a lot of imagination for exploration. While the visuals are not exactly eye-popping, the movie is plenty serviceable.
  27. Tom Clancy's Jack Ryan: Ghost War
    The director, Andrew Bernstein, keeps the globe-trotting plot, which Krasinski formulated with the screenwriter Noah Oppenheim (“A House of Dynamite”), galloping along until a final reckoning back where all the nastiness started.
  28. Balls Up
    There are slapstick foibles, sight gags about rubbers, and many, many vulgar jokes — some good for a laugh, though I doubt the film’s Oscar prospects.
  29. You, Me & Tuscany
    To sell its brand of wish fulfillment, the film relies almost entirely on the charisma of its leads.
  30. Lady Sings the Blues
    The former lead singer of the Supremes is on-screen from start to finish, which is to say almost endlessly, but her only apparent limitations are those imposed on her by a screenplay and direction seemingly designed to turn a legitimate legend into a whopper of a cliché.
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