The New York Times' Scores

Select another publication »
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
view
per page
  1. What's Love Got to Do with It?
    A glossy lesson in how to pour nontraditional content into a traditional rom-com mold, Shekhar Kapur’s What’s Love Got to Do With It? shapes competing notions of happily-ever-after into comfort food.
  2. Guardians of the Galaxy Vol. 3
    Though this “Guardians” is certainly less fun than the others, there are still glints of joy in the more mundane and ancillary quibbles among the found family of misfits.
  3. Riceboy Sleeps
    Even while it’s hampered by these rough edges, the movie is terrifically scored and beautifully shot.
  4. Unrest
    The film punctures that airless sense of fate which can suffocate period pieces and restores this moment of upheaval to immediacy.
  5. Anxious Nation
    When it comes to the causes of this mental health crisis or the precise ways in which it manifests, the documentary falters, unable to distill its empirical material into insights.
  6. Slava Ukraini
    Artistic values aren’t really the point, which is to meet Ukrainians and to see different corners of the bombarded country, where residents, Lévy suggests, have in many cases become inured to the sight of a bombed office building or to the sound of warning sirens.
  7. You Can Live Forever
    You Can Live Forever sticks to a fairly common coming-of-age trajectory.
  8. Chile '76
    Chile ’76 is a sly genre exercise, an example of how political repression can squeeze a domestic melodrama until it takes the shape of a spy thriller.
  9. Centurion: The Dancing Stallion
    A formulaic family melodrama . . . which stars a stable of equine and human performers gamely mounting a Nicholas Sparks-like story line complete with romance across social classes, a conniving antagonist and grave health crises.
  10. Wynonna Judd: Between Hell and Hallelujah
    The film plays like a country song with more chorus than verse.
  11. Those Who Remained
    Those Who Remained leaves much unsaid about their pasts, sometimes at the risk of seeming coy (the word “Jewish” is never spoken). But Hajduk and Szoke are strong performers.
  12. Freaks vs. the Reich
    Its splashy, curiously filter-free adventures unfold in Italy and Germany during World War II, to sometimes awkward effect.
  13. The Restless
    Lafosse’s empathy as a director is admirable, but The Restless falls short of putting a compelling story to film.
  14. Four Quartets
    Fiennes brings the fire, yet the air around him remains unmoved, even by his embers.
  15. King Charles: The Boy Who Walked Alone
    If there’s one thing this movie demonstrates, it’s that whatever the actual function of said monarchy, it does give Britain’s taxpayers their money’s worth in drama if nothing else.
  16. The End of Sex
    In The End of Sex, parenthood appears to turn adults into babbling adolescents who blush and freeze up in the face of sexual opportunity. This dynamic is supposed to be cringe-funny, but over the course of an hour and a half, this staid farce proves otherwise.
    • tbd Metascore
    • 70 Critic Score
    Broadway
    Amid some uneven characterizations, the cast enlivens Broadway with their compelling performances, sealed by a stirring finale and a characteristically soaring score from Gabriel Yared.
  18. Clock
    Clock is a psychological thriller, or perhaps even a satire, in horror clothing, tantalizing us with thought-provoking ideas, only to abandon them: nature versus nurture, the influence of the wellness-industrial complex over minds and bodies, the oppressive expectations placed on women — including by themselves.
  19. Peter Pan & Wendy
    These well-meaning choices struggle to cohere into a satisfying picture.
  20. Winter Boy
    Winter Boy shines when it allows its actors to quietly play out family dynamics, with Lacoste, Binoche and especially Kircher wearing the many shades of grief with effortless, endearing naturalism.
  21. Nuclear Now
    The film’s aversion to formal or rhetorical bombast as it discusses scientists’ hopes for a better future is its own balm. We’re staring down catastrophe, Stone explains matter-of-factly, but our greatest tool is already in our grasp.
  22. Alan Pakula: Going for Truth
    Pakula’s work with actors or the resurgent meaning of his trilogy could have been documentaries unto themselves. But the viewer might not have gotten an adjacent set of insights from his family, particularly Hannah Pakula, his second wife. Her tender, incisive regard creates an ache even as it offers solace.
  23. Big George Foreman: The Miraculous Story of the Once and Future Heavyweight Champion of the World
    It’s a movie with its heart in the right place and its sense of drama nowhere in sight.
  24. Polite Society
    It’s a delight that borrows from everything — westerns, musicals, heist capers, horror, Jane Austen and James Bond — to build its writer and director, Nida Manzoor, into a promising new thing: a first-time filmmaker impatient to evolve cultural representation from the last few years of self-conscious vitamins into crowd-pleasing candy.
  25. R.M.N.
    The tame and the wild roam through R.M.N., nipping at its edges, adding visual texture and deepening its themes.
  26. The Eight Mountains
    The spiritual dimension of Pietro and Bruno’s bond has its appeal, and one of the movie’s pleasures is that it takes male friendship seriously. There’s an expressly erotic dimension to the men’s love for each other, as can be the case with intimate relationships, though not an explicitly carnal one.
  27. Are You There God? It's Me, Margaret
    The director-writer Kelly Fremon Craig’s rendering of the book about puberty, family and nascent spirituality offers lessons in how a cherished object, when treated with tender and thoughtful regard, needn’t turn precious.
  28. Sam Now
    Reed’s initial overeager stylings fall back to reveal a mature reckoning with love, hurt, independence, and hard-won wisdom.
  29. Sisu
    For all its gung-ho violence, the film never feels fraught or nasty enough: It never risks true offense or tastelessness, never takes a gamble on anything that could be interpreted the wrong way or that might sidestep expectations. Somehow it makes killing Nazis feel pretty tame.
  30. Ride On
    The film is so graceless and bizarre in its attempts at tugging at the viewer’s emotions that it often feels like a work of parody.
Page:

Top Trailers

See all »
See all trailers »