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. Rye Lane
    It’s not a spoiler to say that at its conclusion, Rye Lane comes together as only the best rom-coms can, with one of those classic payoffs that’s designed to have you cheering at the movie screen. How Allen-Miller chooses to balance those moments with the unconventional is one of the film’s greatest strengths.
  2. Kubrick by Kubrick
    Most of Kubrick’s 13 features have been analyzed exhaustively already, and Kubrick by Kubrick doesn’t offer much that will surprise even mild obsessives. Still, it is interesting to hear Kubrick express ideas that run counter to conventional wisdom.
  3. Pinball: The Man Who Saved the Game
    The movie strives for a knowing, amiable tone. It achieves a cutesy, slight one instead.
  4. Money Shot: The Pornhub Story
    Here is a documentary that casts a clear eye on the offenses of an industry driven by capitalism while never losing sight of the workers whose safety and success should be that profession’s number one priority.
  5. The Worst Ones
    Luminously photographed and nimbly edited, The Worst Ones — which won the Un Certain Regard competition at the Cannes Film Festival in 2022 — offers a provocative critique of filmmaking practices. It also presents a subtle defense of the onscreen miracles revealed by the young and the raw.
  6. Tori and Lokita
    The precarity of the lives that the Dardennes explore give the stories feeling and tension while their directorial choices — including where they put the camera and how they situate characters in the world — give their work its characteristic ethical politics.
  7. Nam June Paik: Moon Is the Oldest TV
    Paik is undeniable, creating despite lean times (and slowing after a 1996 stroke).
  8. Petite Solange
    As Solange’s teenage woes bubble up and then cool to a simmer, Ropert reveals a knack for calibrating emotion. It can be agony to accept one’s parents as people with needs and faults all their own, and Ropert observes Solange’s coming-of-age lucidly and without judgment.
  9. The Five Devils
    Smell is perhaps the most opaque of the five human senses; the one that’s hardest to put into words. No wonder it’s key to the uncanny intrigues of the film, part queer love story, part supernatural psychodrama, by the French director Léa Mysius.
  10. What the Hell Happened to Blood, Sweat & Tears?
    The film frames them as having been somehow embroiled in a political situation, rather than actively, knowingly engaged in it — and its attempts to remain apolitical and focus on the music are as naïve as the band’s.
  11. The Lost King
    Though raising serious questions about the way history is written, and by whom, The Lost King isn’t a polemic, or even a biopic. It’s a quietly droll detective story, a warm portrait of a woman who lost her health and found her purpose, exhuming her self-respect along with Richard’s bones.
  12. A Good Person
    Braff is going for something broader than indie naturalism, so perhaps the film calls for less subtle brushstrokes. But the result is something that rings with far less thoughtfulness than he’s clearly capable of (particularly in light of the opioid crisis that the film mentions), despite Pugh’s remarkable attempts to ground the story.
  13. Walk Up
    A conversation falters. Another bottle is opened. Three people share drinks and their universe is completely reordered.
  14. Ithaka
    The documentary repeats three monotonous points: Journalists lie. Regardless, Assange is a journalist who deserves protection. Also, his family misses him a heck of a lot.
  15. Reggie
    Even as this movie goes deep on still vital topics, it doesn’t skimp on baseball dish.
  16. John Wick: Chapter 4
    There is simply and once again Reeves, the axis who centers this franchise with his grave sincerity, beatific glow and mesmerizing, rooted fighting style, with its heavy-footed solidity and surprising suppleness. No matter what happens, nothing ever feels as poignantly at stake here as Reeves’s own ravaged, beautiful, aging body.
  17. Full River Red
    At times, particularly in its overwrought closing act, the film feels as if it’s going to collapse under the weight of its relentless, convoluted twists. But the lighthearted tone poking through keeps it afloat, and suspends the viewer in mostly carefree entertainment for its two-and-a-half-hour running time.
  18. Are You Lonesome Tonight?
    Part exploration of the ravages of guilt, part homage to the stylish Hong Kong gangster flicks of the 1990s, “Lonesome” (written by Wen with Noé Dodson, Wang Yinuo and Zhao Binghao) wears its influences on its sleeve but is a cool and sophisticated debut feature.
  19. The Innocent
    The entertainment value of The Innocent lies not in the actual heist — which amounts to little more than a shipment of caviar at a truck stop — but in its lighthearted comedy, its by-the-numbers romance plot and its relatable family drama grafted onto an absurd premise.
  20. Rodeo
    The guarded Julia certainly intrigues, but too often the film sinks into the clichés of a rugged character study — no wonder she prefers to accelerate.
  21. Wildflower
    Shipka ably handles the responsibility of leading the story, but the director Matt Smukler has a harder time balancing the charming and empathetic ensemble performances with the script’s constantly judgmental tone.
  22. The Magician's Elephant
    In jazzing up the tale for the screen, Rogers sands down the somberness — Baltese is all fuzzy blues and pinks, with nary a trace of postwar grit — while turning up the silliness for gimmicky thrills.
  23. Shazam! Fury of the Gods
    Sandberg started his career in small horror films, and doesn’t seem to have much ambition to scale up. Most of the sequences are cut from medium shots strung together without much style — they may as well be a "Saturday Night Live” sketch.
  24. Inside
    It’s disruptive, and then cathartic, to watch Dafoe’s primal performance dominate this museum/mausoleum and force us to side with humanity. He’s perfectly cast in a part that calls for quietly whirring intelligence.
  25. Moving On
    Something else is missing here — a farcical energy or satirical audacity that might shock the premise to unsettling life, or else a deeper, darker core of feeling. Moving On takes refuge in pleasantness, and in the easy charm of its stars.
  26. Rimini
    We know there’s great tragedy and ugliness behind the smoke and mirrors, but we watch in amusement nonetheless. Sinisterly, Seidl reminds us how easy it is to turn people into objects for the taking.
  27. Boston Strangler
    Washed in an unappetizing sludge of grayish green, the movie aims for serious and settles on bilious. The real McLaughlin was a fascinating, pioneering newshound; you’re unlikely to find her here.
  28. Chang Can Dunk
    A funny and thoughtful high school comedy.
  29. The Holly
    It’s all a heady brew that leaves one wanting to know even more about Roberts, who is now running for mayor in Denver. The movie resists encapsulating him, or perhaps he escapes its director’s full understanding.
  30. Stonewalling
    Few movies capture the surreal comedy and engulfing horror of the money-driven world as piercingly as “Stonewalling.”
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