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. Trenque Lauquen Parte II
    The pleasure lies in the telling — the invention of fictions, the performance of emotions — rather than in the details of plot. Once you lose yourself in the thickets of “Trenque Lauquen,” you won’t want to be found.
  2. Trenque Lauquen Parte I
    The pleasure lies in the telling — the invention of fictions, the performance of emotions — rather than in the details of plot. Once you lose yourself in the thickets of “Trenque Lauquen,” you won’t want to be found.
  3. Dry Ground Burning
    Pimenta and Queirós invent a world in which Brazilian women at the very bottom of the social totem pole take matters into their own hands. They do so without an ounce of fear or self-pity — and in killer style to boot.
  4. Twilight
    It’s a style so minimalist, it approaches maximalism — and this combination of pulp and precision creates an arresting and unique work of film noir.
  5. A Tourist's Guide to Love
    A rom-com that so scrupulously fulfills every cliché of the genre, it might as well have been devised by ChatGPT.
  6. Evil Dead Rise
    Lee Cronin, who directed Evil Dead Rise with many more colors of bodily fluid, is a meticulous creator of stunning shots. His camera doesn’t move. It dances, shifting, spinning, occasionally knocked on its side like a running back in a collision.
  7. Ghosted
    This tedious, unfunny, screamingly unoriginal romantic adventure film is so flimsy and so insubstantial that it’s practically vaporous.
  8. Other People's Children
    Zlotowski is telling a story about a specific woman. She’s also telling a complex, bruising, much larger and quietly self-aware story about both the messiness of life and the fragility of bodies that exist in the real world, not just in fantasies.
  9. Chevalier
    That this movie — directed by the Canadian filmmaker Stephen Williams and written by Stefani Robinson — leans too mightily on romance to the detriment of exploring more fully his genius feels like a missed opportunity.
  10. Little Richard: I Am Everything
    I Am Everything is content to be a thorough, energetic, largely chronological appraisal, more interested in saluting a musical legend who shook things up than in shaking up conventions itself.
    • 59 Metascore
    • 40 Critic Score
    Carmen
    They make for a film with elements of dance on camera, musical, of-the-moment melodrama and visual poetry — but without a thorough commitment to any one of those and few, if any, moments of coalescence.
  12. Judy Blume Forever
    Blume has always been an open book, despite the flurry of controversy around her. That may not make for the most exciting documentary, but it does make Blume herself even more endearing.
  13. Quasi
    It’s dumb fun that is at times entertaining, at times flat.
  14. Guy Ritchie’s The Covenant
    For all its clichés, this furious and discomfiting film tugs on your conscience for days, making a powerful case to turn the American public’s attention back to a conflict it would rather forget.
  15. Somewhere in Queens
    Here, Romano sticks to the outer-borough Italian American milieu of his series. The results are mixed.
  16. Plan 75
    Baisho gets across the creeping despair that morbidity and the loss of community can create — a sensation that lets Plan 75 double as a consummate entry in pandemic-era cinema.
  17. The Pope's Exorcist
    Avery (“Samaritan”) drives the film at a pace as caffeinated as Amorth himself, and manages to incorporate legitimate scares into a plot halfway between Indiana Jones and a Dan Brown potboiler, with camp touches worthy of Ken Russell.
  18. The Last Kingdom: Seven Kings Must Die
    The compositions lack clarity, the score of undulating voices is comically clichéd and the visual effects are a dingy, nauseating mess. There are no stakes in a film that not only takes seven royal lives — it snatches several brain cells with them.
  19. Honorable Men
    Honorable Men: The Rise and Fall of Ehud Olmert is a rare instance of a two-hour documentary that should have been an eight- or 10-hour mini-series, because it would take that long to clarify all the issues it raises, then present persuasive evidence.
  20. Imagining the Indian: The Fight Against Native American Mascoting
    In tuning the project to the key of advocacy, the directors have created a film to nod along with, not one that unpacks complexity.
  21. Personality Crisis: One Night Only
    A first-rate raconteur, Johansen — wearing a pompadour, sunglasses and bespoke suit — brings the funk. The storied Café Carlyle delivers the chic.
  22. Beau Is Afraid
    Despite these attractions and in spite of Phoenix’s aura and his focus — and how he plays with the character, opening Beau up a wee bit with flickers of yearning and teasingly humanizing fissures — it is tough to care about a mouse who matters so much less to the filmmaker than the shiny mousetrap where he’s imprisoned you both.
  23. Hilma
    Hallstrom wins the audience back with his sincere connection to af Klint, played in her bullheaded youth by his daughter, Tora Hallstrom, and in her muttering years by his wife, Lena Olin.
  24. Passion
    Passion has a low-fi, hangout feel, flush with the youthful indie energy and forgivable pretensions of an artist who believes that filmmaking matters. Hamaguchi is still a student but already finding his voice.
  25. Wild Life
    Kris and Doug’s moving love story should be the emotional foundation of the documentary, but it’s edited in a bit too late. Paradoxically, however, we also crave more scenes of their individual transitions from bohemians to business titans.
  26. Suzume
    It’s not just the drama that works. Shinkai delivers hilarious physical comedy in the awkward gambols and leaps of Souta the three-legged chair — a refreshing reversal of the trope of the handsome young love interest who leads the naïve girl on a journey.
  27. The Plains
    Fans of structural film, “Jeanne Dielman” and Google Maps will find much to treasure, even if the narrative elements — and occasional cutaways to imagery shot in a more remote area in western Victoria — upset the movie’s rigor and purposeful tedium.
  28. Tommy Guns
    It’s a stylized spectacle, and the effects can feel discordant. Conceição eventually chips through the horror genre enamel to expose a message about the futility of war, but the tale’s miscellany of moods dulls its ultimate power.
  29. Sick of Myself
    Each time we think Signe has hit her breaking point, she perseveres. It’s deadpan funny at first, but then gets disturbing. Her refusal to give up the act proves to be more sickening than her physical symptoms.
  30. Mafia Mamma
    Trite, charmless and entirely without grace, Mafia Mamma weaves a wearying string of Mob chestnuts into a shallow empowerment narrative.
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