The New York Times' Scores

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For 20,313 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: 9,401 out of 20313
  2. Mixed: 8,446 out of 20313
  3. Negative: 2,466 out of 20313
20313 movie reviews
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  1. Creative Control
    Concocted with heaps of style but only a smattering of substance, Benjamin Dickinson’s sophomore feature, Creative Control, is as brittle and unwelcoming as its characters’ surroundings.
  2. Get a Job
    At its sloppy heart, this is meant to be an affirming movie, but the filmmakers could have taken a cue from one line of dialogue: “Don’t just feel special. Be special.”
  3. Ava's Possessions
    Though at times pleasingly quirky, the story is too slackly written and insipidly photographed to entertain.
  4. Fast X
    The best I can say about all of this is that it didn’t bore me.
  5. Fitoor
    Based, sometimes loosely, sometimes carelessly, sometimes pointlessly, on “Great Expectations,” the Hindi movie Fitoor is at all times more Bollywood than Dickens.
  6. Like for Likes
    Relationships unfold with a bright, glossy and antiseptic sentimentality in Park Hyun-gene’s Like for Likes, which brings abundant social media usage to shopworn rom-com contrivances.
  7. Virus of Fear
    Ventura Pons’s stagy drama Virus of Fear tries to walk a thin line about its volatile subject — child sexual abuse — as it weighs a man’s possible innocence against a mob’s rage. But its attempts at ambiguity work against it.
  8. The Brainwashing of My Dad
    Feels as if it’s arriving late to its discoveries and, given the current political climate, as if it’s only scratching the surface.
  9. The Predator
    The frat house atmosphere eventually gives way to tedious bloodletting. In that regard, The Predator hasn’t evolved at all.
  10. Me Him Her
    Mr. Landis’s sensibility, which combines sitcom jokiness with mumblecore sentimentality, tends to be more grating than amusing in Me Him Her, though scattered moments will make you laugh.
  11. I Am Wrath
    The script, besides being full of bad-guy clichés, doesn’t give the actors enough opportunities to work up a buddy rapport, though the glimmers of it that they are permitted are promising.
  12. One More Time
    This is a story full of people being miserable, humorless and selfish, despite having been given a lot in life, and they’re pretty much the same at the end of it as they were at the beginning.
  13. The First Monday in May
    The movie is sloppy.
  14. Genius
    It’s dispiriting to see a movie about interesting real-life characters reduce them to clichés, making them less vivid, less fascinating, less charismatic than they must have been.
  15. Being Charlie
    The movie’s refusal to abandon commercial formulas and examine its characters’ inner lives suggests that the director’s years inside the Hollywood bubble may have prevented him from recognizing the degree to which independent films and television are already overrun with deeper, more sensitive explorations of addiction and recovery.
  16. Our Kind of Traitor
    The director Susanna White makes a lot of strange choices, including the dark, fussy visuals best described as stained-glass noir. As an Expressionist choice, it doesn’t make much sense. Then again, neither does much of Our Kind of Traitor, which has loads of twists and all the ritualistic pessimism you expect, but none of the political and moral outrage that might have elevated this genre story into a le Carré one.
  17. Look at Us Now, Mother!
    For a movie that promises an “epic journey” to explore a family’s “long-buried suffering,” it’s strangely unsatisfying, and eventually wearisome, to find that this clan is deeply troubled perhaps only in the eyes of its filmmaker.
  18. King Cobra
    To say it feels reasonably authentic doesn’t mean it’s very good. Mr. Kelly, who directed the well-received “I Am Michael,” starring Mr. Franco as a Christian pastor with a gay past, clearly knows the territory, but he barely skims the surface.
  19. Pelé: Birth of a Legend
    The film’s director of photography, Matthew Libatique, makes “Pelé” more than an eye-moistening anthem for a built-in global audience.
  20. How He Fell in Love
    We bend over backward to find joy in this movie, but, like eager yogis striving to achieve an impossible asana, we just can’t do it.
  21. The Duel
    The Duel has a few ideas and a glint of politics but is largely characterized by its perplexing shifts in tone and unpersuasive story turns.
  22. Bourek
    Viewers...are unlikely to be more than marginally amused by its fair-to-middling acting, enervated plot and forcibly diverse group of drifting souls gathered on the fictional Greek island of Khronos.
  23. Tulip Fever
    It’s neither a secret masterpiece nor a laughable disaster.
  24. Lucha Mexico
    Lucha Mexico often plays less like a character study than like a simple promotional effort, with repetitive platitudes.
  25. Beautiful Something
    The movie is in dire need of character development and a wider social context.
  26. Welcome to Happiness
    Welcome to Happiness is an airy fantasy of a film, cute but also frustrating. It’s a little too determined to be eccentric.
  27. Dog Eat Dog
    Dog Eat Dog is a movie that wants everyone off its lawn, but only after they’ve had time to appreciate that said lawn is way more nihilistic than their own.
  28. Phantom Detective
    Our hero’s quest, however — updated to the 1980s, when the country’s corporations enjoyed unprecedented government benefits — never ignites, mostly because of Mr. Lee’s acting deficits.
  29. The Assignment
    Because Mr. Hill is still, in most respects, Mr. Hill, a lot of the movie is more watchable than it has a right to be. But ultimately, The Assignment ends up being ridiculous even by its own nonsensical standards.
  30. The Phenom
    The director and writer, Noah Buschel, has no fresh insights to add to the well-worn dynamic and doesn’t give the actors or the audience much to work with.
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