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. The Super 8 Years
    Memory is also, I think, one reason we watch movies like this, which with its lapidary narration and melancholic images — with its laughing children, its difficult smiles and its ghosts — movingly pairs you with Ernaux and with the world that she has so brilliantly made.
  2. The Quiet Girl
    Although The Quiet Girl — Ireland’s entry for the best international feature Oscar — is not holiday fare, there may not be a movie more expressive of the season’s benevolent ethos than this hushed work about kith and kindness.
  3. Avatar: The Way of Water
    I’m curious, and inclined — as I was in 2009 — to give this grand, muddled project the benefit of the doubt. Cameron’s ambitions are as sincere as they are self-contradictory. He wants to conquer the world in the name of the underdog, to celebrate nature by means of the most extravagant artifice, and to make everything new feel old again.
  4. Pelosi in the House
    So what does this long-gestating, obviously affectionate, obviously politically simpatico account of Nancy Pelosi’s career, including her rise to and tenures as the first female House speaker, have to offer? For a start, it provides an unusual opportunity to watch Pelosi negotiate legislation and rally votes.
  5. Guillermo Del Toro’s Pinocchio
    It’s evident that the filmmakers wanted to create a different, tougher and putatively more serious Pinocchio than the Disney version that has been lodged in the popular imagination for decades. But the movie’s decontextualized and disturbingly ill-considered use of Fascism is reductive and finally grotesque.
  6. The Whale
    As an exploration of — and argument for — the power of human sympathy, The Whale is undone by simplistic psychologizing and intellectual fuzziness.
  7. Blanquita
    Unfolding like a David Fincheresque procedural and doused in gloomy grays and blues, the film, by the writer and director Fernando Guzzoni, may seem provocative to some in the context of #MeToo and its popular mantra to “believe women.”
  8. To the End
    Lears clearly feels earnest sympathy for her subjects and passion for their cause, but the film often replicates for viewers the same atmosphere of hopelessness that makes climate activism a hard sell for voters.
  9. Nr. 10
    What the film ultimately becomes — a sci-fi mystery, a smirking satire of religion — doesn’t possess enough actual narrative meat, formal style, or wit to justify its structural gambit.
  10. Empire of Light
    A film that had seemed interested in the lives and feelings of its characters, and in an unlikely but touching relationship between two people at odds with the world around them, turns into a movie with Something to Say.
  11. One Fine Morning
    The story’s ellipses and graceful structure are certainly admirable, but what elevates One Fine Morning is the texture of Sandra’s emotions, the revelation of her character, the hunger of her embrace, the wildness of her mouth, the stillness of her sated body, and the love that she gives and will movingly embrace once more.
  12. Loudmouth
    As straightforward as it appears, Loudmouth also invites an engaged but necessarily judicious scrutiny.
  13. Something from Tiffany's
    It’s a winning setup, and the director, Daryl Wein, escalates the action shrewdly, with clever rom-com engineering.
  14. Framing Agnes
    The documentary reminds its audience that it’s impossible to truly know people based on their responses to medical interviews. But this approach unfortunately prevents the film from achieving either catharsis or understanding.
  15. Emancipation
    Part of this movie’s power comes from its insistence that you look at the near-unbearable, that you confront slavery as a crime against humanity rather than the perverse myth of the so-called Lost Cause enshrined in countless paintings, books, films and statues.
  16. Diary of a Wimpy Kid: Rodrick Rules
    It’s the sort of bland, innocuous trifle that will swiftly recede into the oblivion of a streaming service menu — a comedy without laughs and a family movie without heart, lacking any of the wit or charm of Kinney’s original stories.
  17. Devotion
    As an intellectual dismantling of white savior narratives, Devotion is smartly done; as an enjoyable heartwarmer to watch with your uncle, it’s stiff when it should soar.
  18. Hunt
    A convoluted conclusion, begot by an unconvincing change of heart, obliterates any chance of “Hunt” offering the clarity it needs to be entertaining. Instead, Lee’s directorial effort wanders toward something unmemorable.
  19. Sr.
    The details of how the father cleaned up, became a caregiver to his terminally ill second wife and tried to help his son are terribly moving.
  20. Tantura
    The emerging film is not simply a persuasive augmentation of Katz’s argument, but also a disturbing portrait of how very human impulses — passivity, rationalization, social pressures — can shape the writing of history.
  21. Spoiler Alert
    The film is strongest when it falls silent, allowing the actors to communicate their thoughts with a look.
  22. 2nd Chance
    Bahrani’s film (which he narrates) beetles along without fully exploiting Davis’s ample entertainment value, which is counterbalanced by accounts of his dubious actions and sometimes unseemly opinions.
  23. Scrooge: A Christmas Carol
    This update has its moments of aplomb, but too many of Dickens’s most incisive lines are no more, which invites the not entirely charitable, two-word retort Scrooge made famous.
  24. Lady Chatterley's Lover
    Magee and Clermont-Tonnerre’s adaptation emphasizes the romance of Lawrence’s book over the radicalism of his vision. This Lady Chatterley’s Lover is faithful to the novel, while also revealing how safe, how domesticated, it has become.
  25. Darby and the Dead
    As familiar as this tale of female transformation feels, there is an authentic sweetness to Darby and Capri’s fledgling friendship. Their bond resuscitates a movie that might otherwise have been dead on arrival.
  26. Four Samosas
    Unlike so many new movies that seem to be algorithmically manufactured to appeal to diverse audiences and tick the boxes of representation, Four Samosas feels organic and true as a slice of Indian American life — even if it’s all fun and games and movie magic.
  27. Return to Seoul
    Return to Seoul is a startling and uneasy wonder, a film that feels like a beautiful sketch of a tornado headed directly toward your house.
  28. Violent Night
    Adding insult to bodily injury, the director, Tommy Wirkola (“The Trip,” “Dead Snow”), and the screenwriters, Pat Casey and Josh Miller, can’t even muster any decent set pieces. Instead, the movie unfurls as a tedious series of bloody deaths and witless dialogue.
  29. The Noel Diary
    The director Charles Shyer brings a journeyman’s ease to the screenplay (based on Richard Paul Evans’s novel by the same name): embracing holiday movie expectations here, gently deflecting them there.
  30. The Corridors of Power
    As edited, Moreh’s interviews prize policy analysis and haunting candor over gotcha moments or grandstanding.
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