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 Lair
    Lively, noisy, dark and daft, this gloopy creature feature from the British director Neil Marshall plays like a loose, if vastly inferior callback to his two best films, “Dog Soldiers” (2002) and “The Descent” (2006).
  2. Peaceful
    The film frequently dips into unintentional absurdity, yes, but it also captivates, thanks to the powers of the Gallic film-world heavyweights Benoît Magimel (playing Benjamin) and Catherine Deneuve.
  3. A Chance Encounter
    After Hal and Josie’s meet-cute, they see sights blandly, philosophize blandly, blandly tiptoe around the notion of romance, and criticize each other — yes, blandly, but with an occasional touch of “salty” language.
  4. Wendell & Wild
    The story lines feel far-flung and disconnected, and the limits and rules of this world’s magical logic are at turns underdeveloped and inconsistent. Though the movie has a delightfully raucous rock ’n’ roll sensibility, the dialogue lacks the wit and punch to match.
  5. Holy Spider
    Abbasi seems enamored by the contradictions of Hanaei, who was at once an upstanding Muslim, a family man, a pervert and a ruthless killer. But anyone who reads the news, anywhere in the world, will respond to these rote hypocrisies of misogyny with little other than jadedness.
  6. Please Baby Please
    The film’s ironic tone largely defangs the transgressive films it parodies, but Kramer does broaden the scope of the queer leather canon.
  7. Louis Armstrong's Black & Blues
    The film is a trove of Armstrong’s love of music and his labor. And because so many of those who lend their insights are now departed, it has the feel of a mausoleum worthy of a humble yet celebratory “Saints Go Marching In” second line.
  8. Call Jane
    Nagy tries to push the story beyond its cautious framing, but it’s tough going.
  9. The Novelist's Film
    A Chekhovian study in small moments and chance encounters, which is to say it is a study of human beings as they really live: ambiguously and without exposition, spontaneously and without tidy motives or resolution.
  10. Run Sweetheart Run
    Bursts of experimental style feel at odds with the movie’s core: a simplistic parable of pervasive sexism.
  11. Armageddon Time
    It is — astutely, uncomfortably and in the end tragically — about privilege.
  12. All Quiet on the Western Front
    Berger has more tools at his disposal than Milestone did with the challenges of the early sound era, yet those advantages somehow make this update less impressive: The magnification in scale and dexterity lends itself to showing off. Still, the movie aims to pummel you with ceaseless brutality, and it’s hard not to be rattled by that.
  13. The Good Nurse
    In the judgment of the film, Cullen is just a side effect of an institutional cancer.
  14. The Pez Outlaw
    Like Pez, the film is charming and colorful — and perhaps too sweet.
  15. Voodoo Macbeth
    With such a gross misinterpretation of the source material (why invent Welles onstage in blackface?) it’s fitting that the most engaging part of “Voodoo Macbeth” turns out to be the archival footage of the real-life production that plays alongside the credits.
  16. The Fire that Took Her
    In interviews, the director Patricia E. Gillespie has said that while pitching the film, people often asked whether she could cover or blur Judy’s face to shield audiences from her burns. Gillespie refused, and her resolve to train her camera on Judy gives the film an unflinching quality.
  17. My Policeman
    These are characters who are frustrated in love, prevented by law and by their own emotional repression from asking for what they want in their relationships. The stately treatment of their plight leads to a film that buckles under the weight of purgatorial disappointment.
  18. All That Breathes
    Neither a nature documentary nor a political lecture, All That Breathes is a subtle, haunting reflection on the meaning of humanity — on the breathtaking kindness and heartbreaking cruelty that define our wounded, intrepid, predatory species.
  19. The Banshees of Inisherin
    The Banshees of Inisherin might feel a little thin if you hold it to conventional standards of comedy or drama. It’s better thought of as a piece of village gossip, given a bit of literary polish and a handsome pastoral finish.
  20. Descendant
    If you’ve ever wondered what “holding space” looks like in practice, the director Margaret Brown’s deeply attentive documentary Descendant provides moving examples.
  21. Mama's Boy
    That the screenwriter’s mother was changed by her empathy for people different than her is an admirable value to have. But the film takes a somewhat myopic approach to Black’s reach-across-the-aisle activism philosophy, focusing primarily on his work toward marriage equality.
  22. Year One: A Political Odyssey
    The film’s skimping on economic and social issues echoes one description of Biden’s own messaging by some pundits: low-key to the point of obscuring the full picture of his efforts.
  23. Brainwashed: Sex-Camera-Power
    Limited to a mere pointing out of which kinds of images are empowering to women and which aren’t, the documentary ultimately does a disservice to the art form, feminist or otherwise.
  24. Raymond & Ray
    Only the efforts of Ewan McGregor and, especially, Ethan Hawke, as the estranged half brothers of the title, save this doleful drama from sinking entirely into bathos.
  25. V/H/S/99
    These revenge stories move methodically from the familiar to the monstrous. They lean into gore, excess and, critically, smirking humor. A commitment to its staticky, period-appropriate aesthetic is the only thing its artists take deadly seriously.
  26. The Return of Tanya Tucker: Featuring Brandi Carlile
    The movie interweaves the contemporary sessions with a very selective — and, while not wholly sanitized, certainly discreet — account of her tumultuous past. Overall it’s a better-than-competent piece of fan service and a not unpersuasive bid for an auxiliary youth audience.
  27. Matriarch
    Matriarch opens by watching a nude figure descend into a pond of black muck, but the slog that follows in this derivative, tar-flow-paced thriller from Britain is strictly for the viewer.
  28. Ticket to Paradise
    Roberts and Clooney wear their stature like sweatpants, rousing themselves to do little more than spit insults like competitive siblings. They’re selling their own comfortable rapport, not their characters’ romantic tension.
  29. Aftersun
    It’s hard to find a critical language to account for the delicacy and intimacy of this movie. This is partly because Wells, with the unaffected precision of a lyric poet, is very nearly reinventing the language of film, unlocking the medium’s often dormant potential to disclose inner worlds of consciousness and feeling.
  30. Black Adam
    If, as the credits roll for Black Adam, you’re still stuck wondering what defines a bad hero or a good antihero, know that at least the film clarifies one thing: What makes a bad hero movie.
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