The New York Times' Scores

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For 20,278 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: 9,380 out of 20278
  2. Mixed: 8,434 out of 20278
  3. Negative: 2,464 out of 20278
20278 movie reviews
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  1. Medieval
    On land and underwater, the verisimilitude of the violence is numbing.
  2. Speak No Evil
    Gliding inexorably from squirmy to sinister to full-on shocking, this icy satire of middle-class mores, confidently directed by Christian Tafdrup, is utterly fearless in its mission to unsettle.
  3. The Story of Film: A New Generation
    Cousins’s assessments offer plenty to argue with, but it’s possible to enjoy “A New Generation” without agreeing that “Booksmart” “extends the world of film comedy,” as he claims, or that a shot in “It Follows” merits comparison to the camerawork in Michael Snow’s landmark experimental film “La Région Centrale.”
  4. Hold Me Tight
    For all the intensity of Krieps’s performance and the power of the piano repertoire, Hold Me Tight proceeds through the mourning process with a strange detachment, using Clarisse’s agony as scaffolding for ideas about memory and storytelling that seem more imposed on life than pulled from it.
  5. The Anthrax Attacks
    Many documentaries have dealt with real-life ambiguity by making it part of their structure and argument. This one treats it as an afterthought.
  6. The Bengali
    Despite an intriguing premise, what Kaul actually wants to say here is in need of a lot more fleshing out.
  7. True Things
    What makes the film’s episodic approach flow is the pulse-sensitive camerawork. It’s worth singling out, because it is the kind that is often described as “intimate” but rarely pulled off with such Maysles-esque aplomb.
  8. Barbarian
    Cregger sets up dozens of clichés and pulls them in genuinely surprising directions, brandishing his touchstones: American horror films of the 80s and 90s in the vein of Wes Craven.
  9. Clerks III
    Three words characterize the first third or so of the picture: not funny enough.
  10. Pinocchio
    Boy oh real boy, is the script by Zemeckis and Chris Weitz a lifeless chunk of wood.
  11. This Land
    The narratives in This Land are compelling, even if each of them would benefit from more screen time. (The Covid-19 pandemic affected the shooting schedule, and it shows.) On the whole, the film is best seen as a collage, rather than a definitive report, of the array of opinions brought on by the Trump-Biden race.
  12. We Are As Gods
    We Are as Gods is a mildly interesting documentary about a very interesting man.
  13. The Book of Delights
    If this erotic drama doesn’t break new cinematic ground, it also doesn’t cede its conviction in portraying relationships as a matter of serious consideration.
  14. Our American Family
    Addiction is a complex, challenging topic, and Our American Family, in its sharp specificity, handles it with grace.
  15. The Cathedral
    What distinguishes Jesse’s story is the striking way that the writer-director Ricky D’Ambrose tells it — its ellipses, voice-over, visual precision and an emotional reserve that can feel like clinical detachment but is more rightly described as an aesthetic.
  16. Loving Highsmith
    Most of her exes’ memories stop short of being psychologically insightful. Strung together, however, these tender confidences shape an outline of a woman who never trusted anyone with her heart.
  17. Honk for Jesus. Save Your Soul.
    Regina Hall is a wonder as the woman who stands by her man for a mash-up of reasons, not least being the elevated position the title first lady confers.
  18. Saloum
    Punctuated by Gregory Corandi’s gliding, God’s-eye shots of meringue-colored desert and placid shoreline, Saloum has the extravagance of fable and folklore. The plot is ludicrously jam-packed, but the pace is fleet and the dialogue has wit and a carefree bounce.
  19. Burial
    The story is invented, and not particularly exciting as such.
  20. McEnroe
    There’s a lot more here for tennis fans than you get in average sports documentaries.
  21. Kaepernick & America
    The verbal analysis here isn’t always profound — one interviewee trots out the banal phrase “the conversation we should be having” — but the narrative as presented in archival footage (Kaepernick did not sit for an interview for this film) is exemplary.
  22. Peter von Kant
    Fassbinder’s work finds a kind of truth in the artifice of emotionally plumped-up dramas, but Ozon’s often tedious tragicomedy never hits such a stride, trusting that the material will automatically confer greatness; instead, “Peter” comes off like top-shelf fan-fiction.
  23. Gigi & Nate
    Rather than offer insight into the difficult choices facing disabled people, Gigi & Nate opts for mawkish wish fulfillment, undercutting the film’s powerful emotional core.
  24. Waiting for Bojangles
    The infectious brio at the heart of “Bojangles” is a testament to the performances of the ensemble cast, but especially Duris and Efira, whose chemistry is magnetic.
  25. The Invitation
    Had the movie emerged as a friskier game of eat the rich, it might have had a fighting chance of survival. Instead, it’s middling, morbid pap.
  26. Me Time
    There is a flatness that feels apparent in every shot — and not just because the movie is filmed in bright, low contrast lighting. The film’s experienced cast punches their lines in search of jokes that never materialize, leaving the comedy to nosedive.
  27. Seoul Vibe
    The caper, directed by Moon Hyun-sung, isn’t as fun as it insists it is, playing up the crew and its exploits à la “The Fast and the Furious” and “Baby Driver” but never hitting its stride.
  28. Three Thousand Years of Longing
    Despite Miller’s talent and feverish enthusiasm, and the gravitational pull of his stars, the movie’s colorful parts just whir and stop, a pinwheel in unsteady wind.
  29. Funny Pages
    There’s nothing remotely cool about Robert or, really, Funny Pages. That’s because cool is entirely beside the point. What matters is a sensibility, a worldview — what matters is art.
  30. Samaritan
    Bragi F. Schut’s script mumbles its potentially intriguing themes.
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