The New York Times' Scores

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For 20,271 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: 9,377 out of 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
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  1. Hollywood Dreams & Nightmares: The Robert Englund Story
    What the directors Gary Smart and Christopher Griffiths made is a documentary in spirit. But it’s really more of an annotated oral history of Englund’s entire, extensive IMDb page — almost film by film, in chronological order, for more than two hours. It’s exhausting.
  2. Squaring the Circle (The Story of Hipgnosis)
    Squaring the Circle is slick and enjoyable enough, but it is also, like the company it chronicles, something of a boutique item, and the reminiscences grow faintly monotonous after a while.
  3. Past Lives
    The movie’s modesty — its intimacy, human scale, humble locations and lack of visual oomph — is one of its strengths.
  4. Falcon Lake
    Death and desire swirl around the film’s charged atmosphere, though Le Bon has trouble meaningfully bringing out these elements in the narrative itself, hastily throwing in ambiguities in the last act to create a weightier sense of drama. The effect falls flat.
  5. Padre Pio
    LaBeouf essays a rather, let’s say, contemporary Pio. And completely sinks the picture.
  6. Rise
    This is a sweet, uncomplicated story relayed with enough entrancing dance breaks to fill an American halftime show.
  7. Concerned Citizen
    Haguel builds this brief but densely structured film in an interestingly modular, rhythmic way, thanks to a percussive score by Zoe Polanski and occasional, abrupt cuts to black following key scenes.
  8. Shooting Stars
    For what it sets out to do, detailing the bond of young boys under surreal circumstances, Shooting Stars is a relatively sturdy retelling.
  9. Reality
    Satter, a veteran theater director, makes a smooth transition into her feature film debut, written with James Paul Dallas. She’s skilled at evoking tension from a minimal set.
  10. The Boogeyman
    The Boogeyman, extrapolated from a minor 1970s short story by Stephen King, might conceivably make sense to viewers with no access to proper lighting or functioning windows. For the rest of us, though, this near-indecipherable movie — as murky in plot and payoff as in setting — demands such a total suspension of rationality that its few scary moments struggle to land.
  11. Lynch/Oz
    As the documentary repetitiously circles its subject and piles on greater numbers of clips — more than 50 movies are dropped into the 20-minute final chapter (“Dig”), hosted by the director David Lowery — whatever points Philippe is trying to make have been hopelessly lost.
  12. Spider-Man: Across the Spider-Verse
    Spider-Verse achieves the challenging task of building a sequel that not only replicates the charms of the first film but also expands the multiverse concept, the main characters and the stakes, without overinflating the premise or shamelessly capitalizing on fan service.
  13. The Machine
    Even when the relentlessly salty humor gets fully crass (a dog is thrown out a high window), the product is bland.
  14. We Might As Well Be Dead
    The images are artfully crafted, but the narrative lacks momentum. The film flirts with themes of surveillance and immigrant anxieties, but its allegoric ambitions are continually thwarted by yet another neighborly grievance.
  15. Will-o'-the-Wisp
    Will-o’-the-Wisp, an off-balance provocation from the Portuguese titillater João Pedro Rodrigues, is a prank in fancy dress, a plastic boutonniere that squirts battery acid. The joke is on everyone, particularly the powerful and those holding out hope that the powerful will save the planet.
  16. The Wind & The Reckoning
    The story feels too self-contained and the characters too one-note, which, despite the merits of the subject, makes it hard to feel immersed in their world.
  17. You Hurt My Feelings
    This is a work of discipline and structure. It’s a situation comedy in the best, classical sense: These people’s ethical problems are sometimes ours. I’ve been Beth. I’ve been Don. And I had to watch half of what they’re dealing with through my fingers.
  18. Unclenching the Fists
    Ada’s psychological tumult is captured in intimate close-ups and fluttering camera movements, while the absence of a score complements the film’s uneasy mood of pent-up rage and stifling despair.
  19. White Balls on Walls
    With access to behind-the-scenes processes, the documentary can be instructive about the work of changing legacy institutions, but also wincingly cautionary as Wolfs, his administrators and curators get tangled up in numbers and nomenclature.
  20. The Attachment Diaries
    A trashy treat coated in a high-art gloss, The Attachment Diaries gleefully kneads melodrama, noir, horror and sexual perversion into a pathological romance between two deeply damaged women.
  21. Being Mary Tyler Moore
    The film itself is so smitten by Moore that it skips over the worst of her self-inflected wounds.
  22. Influencer
    Harder has made good and entertaining use of a premise that could have become a simple gimmick, and Naud and Saper prove strong leads as their characters try to read each other between the likes.
  23. 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.
  24. Kandahar
    Stupefyingly sluggish.
  25. About My Father
    Alas, in less than an hour and a half of running time (the director Laura Terruso does orchestrate the proceedings with a palpable sense of dispatch), the movie demonstrates how quickly “amiable and inconsequential” can shift to “hackneyed and labored.”
  26. The Little Mermaid
    The new, live-action The Little Mermaid is everything nobody should want in a movie: dutiful and defensive, yet desperate for approval. It reeks of obligation and noble intentions. Joy, fun, mystery, risk, flavor, kink — they’re missing.
  27. Victim/Suspect
    The film, which examines cases in which sexual assault survivors are charged with false reporting, is the rare entry whose revelations feel cogent, earned and memorable.
  28. The Taking
    Had it included more current images of the region and the realities of the Navajo people, it may have been more effective in replacing these myths, going beyond film analysis to altering imagination.
  29. Killers of the Flower Moon
    The story’s romance is warmly inviting, and DiCaprio and Gladstone work beautifully together, their different performance styles — Ernest is physically demonstrative while Mollie is reserved — creating a contrapuntal whole.
  30. Occupied City
    Time is stretched differently in Occupied City and passes far more quickly than you might imagine, despite the running time. Some of this has to do with the fluidity of McQueen’s filmmaking and how the disparate parts build power cumulatively. Much of this, though, has to do with how McQueen approaches the past.
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