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. Hannah Ha Ha
    Jordan Tetewsky and Joshua Pikovsky, the filmmaking duo who wrote and directed the movie, are natives of the semirural townships southwest of Boston, and their familiarity with the region and its people is what makes “Hannah Ha Ha” transcend — or, in many cases, take full advantage of — its shoestring budget.
  2. The Outwaters
    The Outwaters conjures a swoony, dreamlike atmosphere that heightens the shocks to come.
  3. Magic Mike's Last Dance
    Hayek Pinault and Tatum have a tantalizing chemistry, but the script doesn’t always help them activate it.
  4. Huesera: The Bone Woman
    "Huesera" is the type of staggering supernatural nightmare that is as transfixing as it is terrifying.
  5. Somebody I Used to Know
    The film lacks the indelible details and authentic feeling necessary to encode it in long-term memory. Indeed, soon after finishing the movie, it already feels far away.
  6. Una Vita Difficile
    It also stands by itself as an exuberant bad time, a pity party that has no business being so much fun.
  7. True Spirit
    The message of manifesting your goals reigns supreme, which is great, but it’s worth mentioning that Watson’s willpower benefits from the privileges of financial security, family support and a curmudgeonly-turned-selfless coach.
  8. Love in the Time of Fentanyl
    Though at times the film’s narrative momentum and focus on its subjects is lacking, it shows that drug users, to whom the drug crisis is more than an abstract idea, are perhaps the most capable of creating solutions to the overdose epidemic.
  9. Knock at the Cabin
    For all its skill and cunning, Knock at the Cabin is an overwrought quasi-theological melodrama that also manages to be a half-baked thought experiment. It’s a thrill ride in a toy trolley.
  10. Godland
    Godland gestures at several intersecting themes — belief, the struggle to hold onto faith, the impermanence of being — with greater suggestiveness than depth. It’s a sharp, dryly funny, at times cruel exploration of human arrogance and frailty.
  11. A Lot of Nothing
    In his feature debut, the director Mo McRae displays a nice way with actors and a gift for visual tension, but in aiming for absurdist humor, he lands on something more vexing. It’s the script — by McRae and Sarah Kelly Kaplan — that’s the problem.
  12. The Blind Man Who Did Not Want to See Titanic
    The camera stays close to Jaakko, always at his eye level, blurring everything around him. But the script struggles to channel the character’s wonderfully playful, acerbic spirit.
  13. Baby Ruby
    As moody and messy as its eponym, Baby Ruby aspires to demonstrate how postpartum psychosis can feel like a horror movie. It just fails to make the condition feel like a particularly convincing or cohesive horror movie.
  14. Let It Be Morning
    Despite flashes of droll humor, the film builds up an undercurrent of suspense, with the prospect of violence always near. Kolirin (the movie version of “The Band’s Visit”) orchestrates the proceedings with confidence and significant subtlety, never letting political diagnoses overwhelm character.
  15. Body Parts
    Ironically, the film mirrors the callow cinematic dynamics it critiques: It titillates, even as it scolds.
  16. The Locksmith
    Most of the movie is told with big, rudimentary handwriting and slathered in clichés.
  17. Dionne Warwick: Don't Make Me Over
    Overall, “Don’t Make Me Over” gets the job done, albeit in a formulaic, straightforward fashion. But there’s pure joy in just seeing Warwick radiate the kind of charisma and grit you’d hope for from a living legend who has always stayed true to herself.
  18. Pathaan
    Pathaan is in some ways a save-the-world superhero movie without suits, and while less self-serious, the hefty length can lag. More is not always better — though the gusto of Padukone speedskating to the rescue at one point goes a long way.
  19. The Amazing Maurice
    What should be a cute story about a mischievous orange tabby cat instead becomes an ironic, even vaguely smug movie in the vein of something like “Deadpool.”
  20. Full Time
    The film is a portrait of modern labor that moves with the breathless tension of a Safdie brothers’ joint. But instead of gangsters and cocaine, it finds a flurried momentum in one ordinary woman’s everyday obligations.
  21. 80 for Brady
    We’re so pleasantly pummeled by silliness that the film comes to feel like a massage.
  22. Pamela, a love story
    The collision of her good-faith lack of inhibition with institutionalized misogyny makes this Canadian’s biography a very disquieting American story.
  23. Filmmakers for the Prosecution
    It’s all a reminder of the labor and risks that go into creating and preserving essential imagery of the past, even for the most notorious events in history.
  24. Remember This
    Remember This is, quite literally, a filmed play, and Goldman and Hutchens don’t make any attempts to define or elevate itself outside the confines of the stage.
  25. The Mission
    One hopes that such access would yield new insights into the church. But as the events unspool, the film struggles to crystallize more than a handful of compelling points.
  26. Cairo Conspiracy
    Cairo Conspiracy is a measured but unsparing portrait of corruption perpetrated by people who, across the board, are utterly confident of their own rectitude. Its denouement offers some mercy, but zero hope that the rot depicted can be corrected.
  27. The Man in the Basement
    Somewhere in “The Man in the Basement” there is a smart psychodrama sharpened by political urgency, but what we get is a middling think piece that too quickly loses momentum — and peters out by the end.
  28. Kompromat
    Salle’s approach leaves the physical details of Mathieu’s escape foggy. It’s not always clear how long Mathieu spends in hiding, or how he acquires the tools needed to sustain his flight.
  29. Infinity Pool
    Surreal, sophisticated and sometimes sickening, Infinity Pool suggests that while the elder Cronenberg might be fixated on the disintegration of our bodies, his son is more concerned with the destruction of our souls.
  30. Life Upside Down
    It’s a shallow look at shallow people.
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