The New York Times' Scores

Select another publication »
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
view
per page
  1. My Happy Ending
    The labored screen adaptation shows regrettably few signs of personal fire, and many signs of a work that has been sapped of the intimacy of live theater.
  2. Bruiser
    arren uses an assured hand in treating the family melodrama with the tenderness of a tone poem. For most of the film, he avoids painting in broad strokes while ratcheting up the conflict between Porter, a tattooed veteran living on a boat, and the bespectacled, seemingly upright Malcolm.
  3. Juniper
    Predictably, their relationship softens up, but the film nevertheless maintains some of its prickly charm, in no small part because of the feisty Rampling, whose ice-queen persona here straddles bone-dry humor and withering tragedy.
  4. A House Made of Splinters
    A House Made of Splinters is made with such aching sensitivity that it’s a marvel a camera was used and not some form of mind-meld.
  5. Winnie-the-Pooh: Blood and Honey
    It’s not funny enough to have anything clever to say about its gag, and it’s not exciting enough to be a competent horror movie.
  6. Emily
    Building on a series of oppositions — nature and culture, realism and romance, duty and freedom — O’Connor brings Emily the myth to vibrant life, persuasively suggesting that this ostensibly strange and cloistered genius came into being not despite her contradictions but through them.
  7. 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.
  8. Unlocked
    In a cinematic landscape where the anxiety of surveillance has been sufficiently explored — with movies like “The Conversation,” “Enemy of the State” and “Kimi” — this simplistically dreary offering doesn’t crack a new code.
  9. Lonesome
    Lonesome demonstrates a mature use of sex in cinema, a treatment that communicates narrative purpose without diminishing sex’s animalistic, physical side.
  10. The First Step
    At once a story of legislative struggle and an admiring profile of a crusader, The First Step sometimes gets bogged down in bromides about community and common ground rather than unpacking the specifics of Jones’s approach and how it differs from his detractors’.
  11. A Radiant Girl
    At points, the contrast between Irene’s joy and the encroaching horrors is jarring and eerie, but A Radiant Girl seldom hits these notes — the rest is deflating and awkward.
  12. 88
    The result is dramatically wonky — and eccentrically thought-provoking.
  13. Sharper
    The film’s biggest trick might be casting Moore, Stan and the positively glowing Middleton and still never quite catching fire.
  14. Devil's Peak
    The movie doesn’t have enough of a narrative engine to compensate for its lack of world building.
  15. Pacifiction
    It suggests John le Carré by way of David Lynch — a feverish and haunting but also wry and meditative rumination on power, secrecy and the color of clouds over water at sunset.
  16. Hidden Blade
    However crisp and stylishly executed, the parts don’t quite add up to a satisfying whole.
  17. Jethica
    At once dryly funny and surprisingly poignant, Jethica uses the paranormal as a metaphor for abusive male behavior. The film’s deadpan perspective and unhurried pacing can diffuse its surprises, but Ohs has an offbeat style that’s fresh and fun.
  18. Last Night in New York
    The movie can’t help but function as an apologia for the ruling class.
  19. Marlowe
    The cast is large and the costume and set designers have been kept busy with period details, but “Marlowe” neither dutifully copies nor cleverly updates detective-movie tropes. The dialogue is spiced with profanities and anachronisms, and the plot moves ponderously through a thicket of complications.
  20. At Midnight
    Barbaro and Boneta’s charm offensive never amounts to much, though. The eagerness this film has to please could never match how pleased Feingold clearly is to be making a movie like it.
  21. Your Place or Mine
    No one in this movie is playing anything near a human being, although Kutcher occasionally resembles one when he lowers his head, crinkles his eyes and chuckles.
  22. They Wait in the Dark
    More tingly than terrifying (and more than a smidge off-the-wall), “Dark” has a cheeky boldness. Rea, a prolific independent filmmaker, deploys the gore judiciously and his actors are above reproach.
  23. Mixtape Trilogy: Stories of the Power of Music
    This film, relatively modest in scale but broad in ambition, offers three stories of music makers and devotees. It’s a mixed bag, alternating conventional homily with genuine, substantial analysis.
  24. The Civil Dead
    Gently discursive and virtually plotless, The Civil Dead is a walking-and-talking movie that finds uncommon humor in Whit’s need to be seen and Clay’s extreme discomfort with that responsibility.
  25. Sweetheart
    To the film’s credit, the central relationship remains realistically drawn — a teenage courtship that’s marked by misunderstandings and mood swings. The characters aren’t always sweet, but they never feel phony.
  26. Attachment
    The ticktock horror plotting muffles the romantic spark that brought Maja and Leah together in the first place — the thrill replaced by a lukewarm chill.
  27. The Blue Caftan
    Touzani’s film becomes an ode to the many kinds of love that persist, even in an unforgiving world.
  28. Cinema Sabaya
    Rotem’s organic approach steers clear of icky idealism, but its conclusions nevertheless feel worn out. Talking helps, sure, but getting people in the same room is too often the stuff of fiction.
  29. Consecration
    The plot, as a result, can’t quite find its momentum; it doesn’t help that most of the film’s scares fall flat on a visual and technical level.
  30. Of an Age
    The movie’s greater, intractable problem, though, is that Stolevski has burdened his characters with such obvious narrative instrumentality — Kol is the sensitive naïf while Adam is the appealing, gentle exemplar of an authentic life — that the two simply never come to life as people, either as individuals or as a couple.
Page:

Top Trailers

See all »
See all trailers »