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. Shotgun Wedding
    Much of the dialogue feels canned and phony in the style of a badly written sitcom. But coming out of J. Lo’s mouth, I believed it.
  2. Maybe I Do
    A romantic comedy starring Diane Keaton, Richard Gere, Susan Sarandon and William H. Macy would kill as a Nancy Meyers movie. Unfortunately, the rom-com Maybe I Do was written and directed by the television veteran Michael Jacobs.
  3. Nostalgia
    Martone’s depiction of crime is at once expressive and economic, a world of danger boiled down to pregnant pauses and minute gestures.
  4. You People
    Hill and London build on a nice vibe. Their characters are playful and frisky, in sync with their eye rolling and mouthing of apologies from across a room.
  5. Close
    The roteness of the film’s second half — reinforced by Valentin Hadjadj’s over-insistent score — can’t dispel the exquisite insight of its earlier scenes or the heart-rending precision of the performances.
  6. The Wandering Earth II
    Losing all of the glee of its predecessor, the movie instead offers nearly three hours of convoluted story lines, undercooked themes and a tangle of confused, glaringly state-approved political subtext.
  7. The Seven Faces of Jane
    The consistency limits the ability of the directors to lean into their own style, leading to a movie that feels narratively scattered and stylistically inhibited.
  8. Only in Theaters
    Ultimately the movie is as scattershot as it is enthusiastic. . . . But the narrative about the theaters’ present-day fight for survival is undeniably compelling.
  9. The Last Autumn
    By the time we get to the film’s closing scenes . . . this modest documentary becomes something epic — a microcosm of the eternal cycles of life.
  10. All Eyes Off Me
    Within this framework, Avishag’s wants and needs are not quite legible enough to trace a satisfying arc, but unspooling under the film’s stylish, judgment-free gaze, her interactions are alluring nonetheless.
  11. New Gods: Yang Jian
    Even for fans of this animated universe, New Gods: Yang Jian can’t turn its viewers into believers.
  12. After Love
    The film’s structure may be conventional, and yet its story is unusually rich, and uninterested in easy answers as to why people hurt the ones they love.
  13. When You Finish Saving the World
    Eisenberg has already proven himself a smart wordsmith and a knowing performer of emotional unease, but this “World” is a disappointingly shallow tale of narcissism and negligence.
  14. In from the Side
    Though Carter is competent at making the chaos of a rainy match or the ecstasy of a clandestine tryst watchable, his characters feel like sketches with barely any idiosyncrasies. What’s the point of watching the game if you don’t care about the players?
  15. Alice, Darling
    The larger problem is that there’s not enough here — in story terms or in the filmmaking — to sustain even the movie’s 90 minutes.
  16. Missing
    Missing captures the constant distractions of the modern age. Pop-up windows continually tug at June’s attention. However, the film’s more engaging moments tap into the older cyber nostalgia of text-based adventure games from the 1970s, where problems are solved by typing the right command.
  17. Back to the Wharf
    This film from Li Xiaofeng turns a crime soap opera into an allegory about the moral costs of rapacious expansion — to middling effect.
  18. Virtually Heroes
    Between its old-hat story, flagrantly distasteful humor and lousy visual effects, Virtually Heroes feels as if it’s been sitting on a shelf for a lot longer than 10 years. It probably should have remained there.
  19. House Party
    Like any rager gone south, the buzz is fun early on, until it’s suddenly too much, the house is overrun, and the room starts spinning.
  20. Dog Gone
    Even viewers with a tolerance for this kind of saccharine cinema — oversaturated green grass, slow-motion sprinting, kindly biker gangs, and a fleeting bar squabble in which the nastiest insult is “Idiot!” — will likely say their favorite part is the end credits.
  21. Saint Omer
    An intellectually charged, emotionally wrenching story about the inability of storytelling — literary, legal or cinematic — to do justice to the violence and strangeness of human experience.
  22. Skinamarink
    Ingeniously evoking a child’s response to the inexplicable, Skinamarink sways on the border between dreaming and wakefulness, a movie as difficult to penetrate as it is to forget
  23. The Offering
    A serviceable slab of possession horror.
  24. Kitchen Brigade
    Kitchen Brigade is a white-savior story par excellence, though at least it’s not difficult to swallow — the young people are lovely, and so is the food.
  25. Beautiful Beings
    It doesn’t add up to much, despite the appealing young cast and the handsome cinematography that brings texture and visual interest to every grubby corner.
  26. Plane
    Plane” sinks (or rises, depending on your perspective) to “hell yeah” ridiculousness only at the end, delivering a punchline that lands at the right time.
  27. What Remains
    Even as a Lifetime-esque soap, What Remains sputters, lacking any of the sensational twists to allow itself to sink into enjoyable pulp. The film ultimately hopes to position itself above such a story, aiming instead for a meditation on faith and forgiveness, but its writing and direction lacks the emotional substance to produce anything legitimately affecting.
  28. January 6th
    The film does not offer any particularly new insights, but witnessing the events of Jan. 6 this way — as a matter-of-fact, two-and-a-half-hour montage that seems to occur at once in slow motion and with shocking speed — creates a terror that is perhaps newly visceral and sustained.
  29. Mars One
    Dreams are incubators for dissatisfaction, Martins seems to sigh.
  30. The Old Way
    While it’s true that a certain tepid aspect is common to most B westerns, those of the ’30s and ’40s were made with a baseline competence that The Old Way is woefully lacking.
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