The New York Times' Scores

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For 20,312 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: 9,400 out of 20312
  2. Mixed: 8,446 out of 20312
  3. Negative: 2,466 out of 20312
20312 movie reviews
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  1. The Space Between
    This is one of those movies that never quite sinks to the risible depths you kind of wish it would.
  2. Beate
    The director Samad Zarmadili cobbles together this underdog story like a slapdash sitcom episode.
  3. Mr. Destiny
    While Mr. Destiny is not technically a remake of anything, it's hard to find a glimmer of originality, much less wit or emotion.
  4. Queen Marie
    Romania has delivered some of the most bracing filmmaking of the past 20 years (“The Death of Mr. Lazarescu,” “4 Months, 3 Weeks and 2 Days”), but Queen Marie shows that its cinematic output also extends to stiff, exposition-clotted biopics.
  5. Berlin Alexanderplatz
    Reinhold exerts a Svengali-like hold on Franz and the women they know, though the character’s questionable magnetism makes this dynamic increasingly baffling.
  6. Cinderella
    Among the countless iterations the story has weathered through the ages, this Cinderella (streaming on Amazon), starring Camila Cabello as the orphaned maiden, is forgettable. It is oddly transfixing, though, as a study in the semiotics of the modernized fairy tale.
  7. 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.
  8. Spaced Invaders
    Spaced Invaders should have been funnier than it is. It rambles and has too many poorly defined characters. Also, because most of it takes place at night, it's not easy to tell what is going on sometimes, which will confuse the audience for which it is intended.
  9. Gunpowder Milkshake
    Papushado’s flamboyance feels cocky and indiscriminate, as if he’s simply trying really hard to make every image seem cool.
  10. Wish Dragon
    Wish Dragon is a transporting experience, but it’s far from a whole new world.
  11. Resort to Love
    In Resort to Love, the lack of discernible chemistry between the characters makes it hard to believe they belong together.
  12. Beckett
    Washington is a likable actor and easy on the eyes, but the character is unproductively one-dimensional and so is the performance, which remains reactive and opaque. Here, at least, he can’t turn an underconceptualized character into one whom you either care about or want to watch gasping and grimacing for several hours.
  13. False Positive
    Despite its vaguely unsettling clinical ambience, very little about the film as it makes its way to an ultimately flat and predictable final twist, manages to feel tense or thrilling. Or even funny for that matter.
  14. Heart and Souls
    When the film announces, halfway through, that it will be devoting the rest of its running time to tying up these loose ends, the audience may as well give up the ghost.
  15. Stop Filming Us
    Postema’s interlocutors respond with candid critiques, but the director’s self-flagellation feels increasingly empty — less a reckoning with neocolonialism than a toothless display of white guilt. His critical insights are thin, too.
  16. Broken Harts
    With a bolder and broader framework, Broken Harts might have been more than fast food for true-crime obsessives.
  17. a-ha: the Movie
    There’s a slight wonky interest in seeing the grind of recording sessions and fan service. But the film feels promotional enough that it won’t lean into the potential humor of their situation.
  18. This Town
    White squanders the opportunity for true satire, speeding past the many topical issues kicked up by the script — police corruption, mental health, gun crime — into a feel-good conclusion that leaves a bad taste in the mouth.
  19. Samaritan
    Bragi F. Schut’s script mumbles its potentially intriguing themes.
  20. The Kissing Booth 3
    Like a scoop of vanilla ice cream atop scoops of chocolate and strawberry, The Kissing Booth 3 rounds out the sugary teen trilogy with a fitting, if bland, finale.
  21. Wolfgang
    A fairly vapid and shallow affair, even by the low standards of the celebrity bio-doc subgenre, Wolfgang provides copious archival montages of “the first celebrity chef” (Julia Child apparently didn’t count), but precious little understanding of what actually makes him tick.
  22. Long Story Short
    Spall summons a kind of early Ryan Reynolds haplessness, talking a mile a minute while catching up. But a sheepish pall steadily creeps over the whole endeavor.
  23. Dog Gone Trouble
    That the movie can be summed up in a silly, simple dog rap indicates there wasn’t much of a story here to begin with.
  24. 65
    Like Mills’s emotional back story, the special effects seem to have been pulled out of a box of secondhand ideas. Nor is the execution all that impressive. There’s little in the way of awe, suspense or surprise.
  25. The Year of the Everlasting Storm
    The omnibus film The Year of the Everlasting Storm assembles pandemic-made shorts from around the globe. But with just two decent segments out of seven, this anthology uncannily replicates the sensation of feeling trapped.
  26. France
    While France remains interesting, thanks to Seydoux’s tough and resourceful performance, “France” loses its emotional force and its intellectual focus. A potentially insightful exploration of the loss of self in a media-saturated world amounts, in the end, to a series of shallow images.
  27. Sugar Hill
    Mr. Ichaso's slow, deliberate direction of Barry Michael Cooper's windy screenplay is painfully slack. If this film doesn't resort to much vicious gunplay until its later sections, that may be because the characters are always in danger of talking one another to death.
  28. Revolution Rent
    Despite the intriguing premise of the film, its cursory and lopsided narrative approach dilutes its salient themes and messages.
  29. Running Against the Wind
    The film is, at the very least, never boring. It’s also, despite a potentially compelling conceit, pretty ridiculous.
  30. Help!
    The boys themselves are exuberant and uninhibited in their own genial way. They just become awfully redundant and—dare I say it?—dull.
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