The New York Times' Scores

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For 20,311 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: 9,399 out of 20311
  2. Mixed: 8,446 out of 20311
  3. Negative: 2,466 out of 20311
20311 movie reviews
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  1. Salvatore: Shoemaker of Dreams
    If Guadagnino sought to reflect the romance of Ferragamo’s red carpet creations, his storytelling is at once more conventional and more awkward in construction. Forget feet; defter hands might have helped.
  2. Holy Spider
    Abbasi seems enamored by the contradictions of Hanaei, who was at once an upstanding Muslim, a family man, a pervert and a ruthless killer. But anyone who reads the news, anywhere in the world, will respond to these rote hypocrisies of misogyny with little other than jadedness.
  3. Hunt
    A convoluted conclusion, begot by an unconvincing change of heart, obliterates any chance of “Hunt” offering the clarity it needs to be entertaining. Instead, Lee’s directorial effort wanders toward something unmemorable.
  4. Rubikon
    However thoughtful and well-intentioned, this debut feature is too airless and long-winded to excite.
  5. Maika: The Girl from Another Galaxy
    "Maika” stands out for its moments of weird eccentricity. Bad guys get slapped by gobs of kimchi and Hung and Maika float around in a bubble, zooming past airplanes. Sure, it’s all very loud and cartoonish, but at least we’re not stuck in the suburbs.
  6. La Cage aux Folles
    La Cage aux Folles is naughty in the way of comedies that pretend to be sophisticated but actually serve to reinforce the most popular conventions and most witless stereotypes.
  7. Pinocchio
    Boy oh real boy, is the script by Zemeckis and Chris Weitz a lifeless chunk of wood.
  8. The School for Good and Evil
    The film doesn’t have the space to expand all of its ideas and gracefully unfold its plot, which is full of so many narrative twists and reversals that The School for Good and Evil equates to a whole TV season untidily packed into a feature film.
  9. Next Exit
    The actors’ chemistry feels brittle, and like many road movies it has trouble mining drama out of disparate episodes.
  10. My Policeman
    These are characters who are frustrated in love, prevented by law and by their own emotional repression from asking for what they want in their relationships. The stately treatment of their plight leads to a film that buckles under the weight of purgatorial disappointment.
  11. Fourth of July
    As a director, Louis C.K. puts several feet wrong.
  12. Love & Gelato
    It’s the kind of film that is more interested in the appeal of a good Italian accent than it is in finding novel, or even particularly beautiful, ways to shoot and see Rome. The conscious callowness is agreeable, but it lacks freshness, like a midnight pasta reheated in the microwave.
  13. Champions
    The dispiriting experience of watching Champions is slowly realizing that, notwithstanding an off-color line here or there (a player with Down syndrome introduces himself as “your homie with an extra chromie”), it’s exactly the sort of formulaic crowd-pleaser that just about anybody might have directed.
  14. Hypochondriac
    Its armchair psychology makes for queasy viewing, a conflation of diagnosis and damnation.
  15. Paradise Highway
    If only the film had taken a broader view, filling in more details about the lives and motivations of the truck drivers as well as the sex traffickers.
  16. Rogue Agent
    The real account of Robert Freegard might have been unbelievable. Its dramatization, however, is preposterous.
  17. Ant-Man and the Wasp: Quantumania
    Pfeiffer, Majors and Douglas (as Hope’s equally big-brained dad) are the truer stars of this show, and each brings something valuable to the mix.
  18. Laal Singh Chaddha
    The movie’s charms are limited by what comes to feel like a coddling conceit.
  19. Medieval
    On land and underwater, the verisimilitude of the violence is numbing.
  20. Joyride
    Joyride, a grievously schematic blend of odd-couple comedy and life-affirming road movie, traverses the Irish countryside with a small degree of charm and a boatload of blarney.
  21. Burial
    The story is invented, and not particularly exciting as such.
  22. My Mother's Wedding
    We’re wondering why these accomplished women could be so uniformly stunted by their delusions of paternal grandeur — which could maybe make for a funny setup. In this overly mannered, weirdly flat dramedy, it’s not.
  23. Hansan: Rising Dragon
    The film’s dramas are ornately costumed but often stilted and lacking the verve of the battle staging. Even the glories of war can turn stultifying when you’re shown one too many thousand-yard-stare reaction shots by military leaders.
  24. Daylight
    It will seem suspenseful only to those who wonder whether Mr. Stallone can get the dog out alive.
  25. Country Gold
    This movie gets better the more it strays from its real-life models and into hazy hallucinatory American weirdness. But the snotty dismissiveness with which it treats country music ultimately overwhelms its intriguing qualities.
  26. Gigi & Nate
    Rather than offer insight into the difficult choices facing disabled people, Gigi & Nate opts for mawkish wish fulfillment, undercutting the film’s powerful emotional core.
  27. House of Darkness
    Here is House of Darkness anyway, a talky, allegorical horror film that delivers plenty of LaBute’s typically sharp irony and observations but little raison d’être. It is sometimes insightful, just not about women, who outnumber the men three to one.
  28. Adopting Audrey
    The one bright spot of Adopting Audrey is the acting from Malone and Hunger-Bühler, who imbue their characters with more pathos than they probably deserve.
  29. The Whale
    As an exploration of — and argument for — the power of human sympathy, The Whale is undone by simplistic psychologizing and intellectual fuzziness.
  30. Raymond & Ray
    Only the efforts of Ewan McGregor and, especially, Ethan Hawke, as the estranged half brothers of the title, save this doleful drama from sinking entirely into bathos.
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