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. Candy Land
    Written and directed by John Swab, Candy Land is standard grindhouse fare — more serious and less conceptually adventurous than its recent counterparts, Ti West’s “X” and “Pearl” — though not without its fair share of pleasurable nastiness.
  2. Alcarràs
    The film’s striking images — a girl’s made-up face, sullen amid a crowd of colorful revelers; solar panels gleaming sinisterly below a full moon — leave an indelible trail.
  3. Last Resort
    This endeavor might have tried the alternative title “Die Hard on a Budget,” except even that would have been hopelessly optimistic.
  4. M3GAN
    The director Gerard Johnstone doesn’t go for elaborate suspense sequences or truly intense scares. He wants to please, not rattle. And while there are some hints at social commentary on how modern mothers and fathers use technology to outsource parenting, this movie is smart enough to never take itself too seriously.
  5. The Subtle Art of Not Giving a F*ck
    If The Subtle Art of Not Giving a #@%! helps people, its deficiencies as a movie don’t matter much.
  6. Broadway Rising
    It can’t fail to trigger shudders of recognition as well as feelings of release, but the filmmaking lacks a certain drama.
  7. A Man Called Otto
    A Man Called Otto is not only more bloated than the Swedish film, it’s more outré, in a way that’s hard to pin down.
  8. Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb
    “Turn Every Page” is one step away from turning into a Herzogian monument to obsession or plunging into crazed psychodrama. Instead, it is merely a great profile, filled with wit, affection and detailed stories of how the books came to be.
  9. Wildcat
    In shaping this narrative, though, Lesh and Frost have left out details that would have deepened and broadened Wildcat.
  10. Lowndes County and the Road to Black Power
    The power of the collective, more so than any individuals, is the focus here. The film is anchored with the arresting faces of Lowndes locals and Student Nonviolent Coordinating Committee organizers, who recall a range of stirring details — from setting up camp in a house with no running water to internal debates over the term “Black power.”
  11. Living
    As in a David Lean movie, passion mingles elegantly with repression, and Williams emerges as a kind of romantic figure, a man shocked, then delighted, by the thrill of finding himself.
  12. Whitney Houston: I Wanna Dance With Somebody
    Ackie doesn’t much resemble the superstar, although her carriage is correct: eyes closed, head flung back, arms pushing away the air as if to make room for that mezzo-soprano. That the film sticks to Houston’s surfaces is half excusable.
  13. The Eternal Daughter
    Hogg’s greatest stroke in The Eternal Daughter is her casting of Swinton in both lead roles. Swinton is a wonderful chameleon and while she can go as big and showy as any Oscar contender, she is also a brilliant miniaturist.
  14. Broker
    Kore-Eda, remarkably, doesn’t counterfeit a happy ending, but he also refuses despair. He’s an honest broker of heartbreak.
  15. Roald Dahl's Matilda The Musical
    For a film that takes this much glee in cruelty — Matilda is called “a brat,” “a bore,” “a lousy little worm” and “a nasty, little troublemaking goblin” in her first three minutes onscreen — it also includes scenes of genuine loveliness.
  16. Corsage
    Making Elisabeth interestingly human proves more than enough, a feat that Kreutzer and Krieps accomplish to dazzling effect.
  17. Babylon
    There isn’t much going on other than the spectacle of its busily spinning parts, which might be tolerable if the first two hours weren’t so unrelievedly unmodulated, with everything synced to the same monotonous, accelerated pace. This hyperventilated quality initially serves the story and Chazelle’s concept of the era’s delirious excess, but the lack of modulation rapidly becomes enervating. After a while, it feels punishing.
  18. Women Talking
    The root of Protestantism, after all, is protest — against arbitrary and unaccountable authority in the name of a higher truth. Women Talking reawakens that idea and applies it, with precision and passion, to our own time and circumstances. The women don’t want pity or revenge. They want a better world. Why not listen?
  19. 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.
  20. No Bears
    Panahi, whose courage and honesty are beyond doubt, has made a movie that calls those very qualities into question, a movie about its own ethical limits and aesthetic contradictions.
  21. The Pale Blue Eye
    Continuing his fascination with tormented manhood, Cooper, in this third collaboration with Bale after “Out of the Furnace” (2013) and “Hostiles” (2017), works with a solemnity that stifles the fun.
  22. Puss in Boots: The Last Wish
    It contains amusing jokes and has an old-fashioned impulse to tug at heart strings.
  23. Idina Menzel: Which Way to the Stage?
    We already know that Menzel can belt to the back row; a richer profile would have coaxed out a more intimate voice.
  24. It's a Wonderful Binge
    The stirring pratfalls and well-placed dirty jokes make It’s a Wonderful Binge a keenly subversive Christmas movie.
  25. Children of the Mist
    The filmmaker Ha Le Diem shot Children of the Mist over the course of three years, integrating herself into Di’s life in a way that complicates the documentary’s otherwise unobtrusive, observational approach.
  26. The Volcano: Rescue from Whakaari
    Once the ash settles, we long for insight, but only the trauma lingers on.
  27. The Almond and the Seahorse
    Only when Sarah and Toni meet for the first time, an hour in, does the film allow a genuine conversation — and, gratefully, a moment of recognition.
  28. The Apology
    A play-like trudge through seesawing power dynamics, bursts of violence, perpetual gloom and a ludicrously attenuated finale, The Apology could have doubled its tension by halving its running time.
  29. Jurassic Punk
    Directed by Scott Leberecht, Jurassic Punk tells the very juicy story of pioneers, naysayers and professional hierarchies that made Williams both the Necessary Man and an eventual outcast.
  30. Nelly & Nadine
    The film is moving for the intimacy it depicts, an archive as unlikely as the love story itself.
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