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 Son
    Despite its contemporary New York City setting, The Son seems to have appropriated a midcentury understanding of mental illness, and the emotion on display feels even more artificial than the rooftop vista erected outside the windows of Peter’s industrial-chic Manhattan loft.
  2. White Noise
    There is something detached about the film, a succession of moods and notions that are often quite interesting but that never entirely cohere. White Noise is an expression of sincere and admirable faith. I just wish I could believe in it.
  3. The Sound of Christmas
    The relationship between Montana and the kids is a highlight, as are some of the other secondary relationships. And though the film is as predictable and saccharine as one might expect of holiday fare, viewers who grew up in the Black church may enjoy seeing a relatable and chaste romantic story on-screen.
  4. Fantasy Football
    Hardwick and Martin have decent chemistry, but the film lacks a true charisma that would make it a children’s classic worth revisiting.
  5. All the Beauty and the Bloodshed
    The movie’s bifurcated shape isn’t novel, but Poitras’s marshaling of all this information is exceptionally graceful. She has an abundance of fantastic material at her disposal — including a generous selection of Goldin’s artwork — but what makes the movie work so well is how Poitras seamlessly uses the different sections of Goldin’s life to weave a coherent portrait of the artist.
  6. Nanny
    Jusu draws fluidly from different genres and modes in “Nanny” — from scene to scene, the movie plays like an immigration drama, a lonely woman melodrama and a cruel labor farce — but at one point you realize that what you are watching looks, sounds and feels like a horror movie.
  7. The Swimmers
    The Swimmers tells this story as an inspirational (but rarely sugarcoated) crowd-pleaser. Within those terms, it hits its marks.
  8. Leonor Will Never Die
    The effect is by turns comical, maddening and endearing as Escobar reaches for more ambitious ideas about the political appeal of the authoritarian hero; but “Leonor” is finally too mired in its film-within-the-film frolics for more serious themes to gain traction.
  9. Strange World
    The takeaway is the difficulty of collaboration in the face of entrenched beliefs and ways of navigating the world that, ultimately, must be questioned — if not entirely dismantled — if any one of us expects to stick around.
  10. Glass Onion: A Knives Out Mystery
    “Glass Onion” is completely silly, but it’s not only silly. Explicitly set during the worst months of the Covid pandemic — the spring of 2020 — “Glass Onion” leans into recent history without succumbing to gloom, bitterness or howling rage, which is no small accomplishment. One way to interpret the title is that a glass onion may be sharp, and may have a lot of layers, but it won’t make you cry.
  11. Disenchanted
    Adams doesn’t gain much by returning for Disenchanted, a cluttered and noisy sequel directed by Adam Shankman from a screenplay by Brigitte Hales. Neither does the original film’s fan base.
  12. Actual People
    The low-budget nature tends to expose the film’s amateurish qualities — the attempt at a vérité feel can fall flat, particularly through the acting.
  13. The People We Hate at the Wedding
    Underneath the plentiful high jinks in its physical-comedy-heavy scenes, The People We Hate at the Wedding ends up being a poignant enough good time that celebrates imperfect yet endearing familial love.
  14. Slumberland
    Overall this remarkably glum, logy, convoluted and unengaging movie has only a vestigial relation to McCay’s work. McCay fans should beware. So should everyone else.
  15. The Wonder
    Anchored by Lelio’s intelligent filmmaking — and by Pugh’s beautifully calibrated mix of physical vigor and temperamental astringency — Lib embodies the story’s arguments, themes and power with vivid clarity. There’s no denying her or her ravenous hunger for life.
  16. EO
    No movie that I’ve seen this year has moved me as deeply, made me feel as optimistic about cinema or engaged me with such intellectual vigor as “EO,” whose octogenarian genius auteur and all the donkeys who play EO — Hola, Tako, Marietta, Ettore, Rocco and Mela — deserve all the love and the carrots, too.
  17. Master of Light
    The thesis of the movie — that art can be restorative and help overcome cyclical, systemic failures — might seem trite. But Morton’s devotion to his painting and his loved ones makes it difficult not to be moved.
  18. Bantú Mama
    It’s a quiet film that stays close to the central characters, but it could have benefited from broadening its view, giving context to some of the issues presented in the film — in particular how Blackness is perceived and experienced on the island.
  19. Mickey: The Story of a Mouse
    It’s boosterish and jam-packed, like many pop-culture documentaries (not just ones produced by Disney about Disney).
  20. Blue's Big City Adventure
    That winsome charm and gusto is infectious, as in a Central Park-set dance number with some of the Technicolor verve of an old Hollywood musical, and it manages to sustain this unflagging exuberance across its fleet 72-minute running time.
  21. Bad Axe
    This is a hermetic story, but one wishes that Siev had balanced its coziness with acuity.
  22. There There
    The writer-director, Andrew Bujalski, zeros in on the delicate dances and negotiations between the people in these two-handers, which percolate with sly humor, decency, curiosity and sheer nerve.
  23. Christmas with You
    Weather seems to exert an only intermittent influence in this insipid holiday love story, directed by Gabriela Tagliavini and set in the run-up to Christmas — at least in theory.
  24. The Inspection
    The metamorphosis that Bratton explores, and that Pope embodies — the way Ellis both changes and remains ever faithful to himself — is subtle, bittersweet and beautiful.
  25. A Christmas Story Christmas
    Mostly it made me want to watch the original, which, as always, remains well worth revisiting.
  26. The Menu
    In service to a gleefully malicious tone, Mark Mylod’s direction is cool, tight and clipped, the actors slotting neatly into characters so unsympathetic we become willing accessories to their suffering.
  27. Bones and All
    Bones and All is a ragged hybrid of genres and styles, an elevated exploitation movie, a succession of moods — anxious, horny, dreamy, sad — in search of a metaphor. Or maybe the metaphor is obvious.
  28. In Her Hands
    The film is so enamored with Ghafari’s status as an exceptional symbol — a powerful woman in a man’s world — that her actual work as a politician gets short shrift.
  29. Memories of My Father
    Perhaps Colombian audiences don’t need the history lesson, but skimping on the context in this case also makes the film’s mawkish impulses more glaring and grating, especially as Trueba shifts his observant domestic drama into something of a political rallying cry — a tepid one, at that.
  30. Stutz
    A film that skillfully navigates vulnerability, brainy insights and artistry.
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