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. The Mountain
    Some might see the final act as body horror. To the director, it’s a metaphysical sacrament — and all along, his camera has hinted that mankind must commit to the planet before it’s too late.
  2. Dealing with Dad
    The film is at its most compelling when tackling this tension between care and resentment head-on — it has a ring of truth that’s sadly squandered whenever Huang reaches for easy laughs.
  3. The Wind & The Reckoning
    The story feels too self-contained and the characters too one-note, which, despite the merits of the subject, makes it hard to feel immersed in their world.
  4. Come Out Fighting
    While it has a blatant shoestring sheen, Come Out Fighting isn’t arch or irony-laden; in fact, the tone is quite serious, albeit also seriously clichéd.
  5. The Zone of Interest
    All that is clear from what’s onscreen is Glazer has made a hollow, self-aggrandizing art-film exercise set in Auschwitz during the Holocaust.
  6. Asphalt City
    This jittery drama wants viewers to appreciate the unique burdens facing emergency medical workers. Its approach to achieving this goal, however, involves a profusion of overly literal allusions to the paramedics as arbiters of life and death.
  7. Firebrand
    Law (and his director, Karim Aïnouz) might be laying it on thick, but his grotesque tyrant is the only thing lifting this dreary, ahistoric drama out of its narrative doldrums.
  8. Wuthering Heights
    The screenwriter, who often uses bits of dialogue from the novel, doesn't hesitate to add new material that is completely inappropriate.
  9. Persian Lessons
    Less kooky and gratingly precious than “Jojo Rabbit” or “Life Is Beautiful,” the film nevertheless also taps history with a movie-magic wand.
  10. Something You Said Last Night
    One can only watch Renata, and this film, do so little for so long before yearning for more than naturalism and tenderness to drive the slice-of-life story.
  11. Reverse the Curse
    Duchovny’s smarts are commendable, theoretically, but the movie falls short of compelling. And for all the novelistic details that he packs in, Reverse the Curse moves at the pace of a self-defeating snail.
    • 89 Metascore
    • 40 Critic Score
    The Mother and the Whore
    Watching The Mother and the Whore, you find that you're back in the movie-sludge of the nineteen-fifties, when a number of mediocre French films focused on sub-Sagan characters: numb, semi-paralyzed creatures who hardly had the calories to drag themselves through the day.
  13. Take Care of Maya
    Take Care of Maya is grueling, but it is also oddly deficient, wanting for the precision and perspective essential to deriving insight from profound trauma.
  14. When Time Ran Out...
    The latest Irwin Allen disaster movie is When Time Ran Out, which is waxen even by Mr. Allen's standards.
  15. Surrounded
    Wright’s lean, long face is sometimes all hard angles, and she enacts the largely stoic mien of her character with weight. If Surrounded had carried through its overdetermined premise more assuredly, she’d have made a compelling hero/heroine here.
  16. The Country Club
    These visual flourishes, while derivative, are charming and well-realized. The writing, however, has none of Anderson’s wit, tending instead toward a kind of broad and fatuous slapstick that’s closer to “2 Broke Girls” than “The Royal Tenenbaums.”
  17. Horseplay
    Horseplay is less an acutely mapped-out anthropological study into toxic masculinity and pervasive homophobia and misogyny, and more like having to spend a day chilling with the most annoying guys you know.
  18. Retribution
    It’s clear why these films need Neeson: He commits to every line like his life actually does depend on it. But gravitas alone can’t salvage the frustrating plot contrivances and ridiculous dialogue that make the characters sound dumber and dumber the more they explain their motivations.
  19. Eureka
    There are enough plots here for several movies, but not enough for this one.
  20. Two Tickets to Greece
    Calamy has by far the livelier part, and the energy dissipates whenever Magalie isn’t drawing attention to herself.
  21. Care Bears Movie II: A New Generation
    To make a long story short, the film ends on a note that equally serves Great Wishing Star, the Care Bears, free enterprise and redemption. Very young kids may love this, but anybody over the age of 4 might find it too spooky.
  22. GoBots: Battle of the Rock Lords
    True to Saturday-morning cartoon tradition, GoBots is a jerky, semi coherent series of chases, laser-gun battles and explosions, with an allegorical plot about how no one can handle too much power.
    • 23 Metascore
    • 40 Critic Score
    My Little Pony: The Movie
    All this may be enough to keep 3- to 7-year-olds entertained for an hour and a half on a hot summer's day, and there is certainly nothing in this sanitized fairy tale that will frighten or alarm them unduly. Unlike the great Disney classics, however, there is also nothing that will move them - and there are very few bones of wit thrown to the poor parents who will have to sit through the film with children of this age group.
  24. What Comes Around
    The story, though neatly plotted, is engaging enough. The trouble lies in its staging.
  25. Aporia
    A deeply silly time-travel weepie buoyed solely by the soapy warmth of its performances.
  26. The Exorcist: Believer
    Measured against the often mediocre standards of today’s glut of reboots and reimaginings, “Believer” is slickly professional, its young performers more than up to the task. It’s also disappointingly, if unsurprisingly, cautious, gesturing only wanly toward the original’s potent weave of puberty, religion and corporeal abuse.
  27. Back on the Strip
    It’s both a shame and a wonder that the film managed to assemble such a beefed-up roster of talent — Snipes, Haddish, J.B. Smoove, Faizon Love and, in a cameo, Kevin Hart — for what amounts to a stilted, factory-line comedy.
  28. Simone: Woman of the Century
    Dahan, who also wrote the screenplay, provides a serviceable overview of Veil’s accomplishments and ethical sense (partly shaped by her experiences in the camps), and of the barriers she overcame in misogynistic civic spheres. But her biography deserved a more considered treatment — and a considerably less heavy hand.
  29. Stage Fright
    Stage Fright is dazzlingly stagy but it is far from frightening.
  30. The Kill Room
    While the supporting cast is replete with performers we like to see — Debi Mazar, Larry Pine, and Thurman’s daughter, Maya Hawke, as a feminist artist — the script, in the end, does little to support them.
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