The New York Times' Scores

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For 20,280 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: 9,381 out of 20280
  2. Mixed: 8,435 out of 20280
  3. Negative: 2,464 out of 20280
20280 movie reviews
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  1. Relic
    Relic deftly merges the familiar bumps and groans of the haunted-house movie with a potent allegory for the devastation of dementia.
  2. To the Ends of the Earth
    Kurosawa’s command of film form gives the movie an embracing magnetism despite its seeming thinness of plot.
  3. King Richard
    This is a fundamentally — and I would say marvelously — old-fashioned entertainment, a sports drama that is also an appealing, socially alert story of perseverance and the up-by-the-bootstraps pursuit of excellence.
  4. A White, White Day
    The result is an emotionally wringing film, equally effective in the narrative and tone-poem departments.
  5. Hope and Glory
    Hope and Glory has an invitingly nostalgic spirit and a fine eye for the magical details that a little boy might notice.
  6. Happiest Season
    The movie practically vibrates with its own meta tension.
  7. Da 5 Bloods
    In its anger, its humor and its exuberance — in the emotional richness of the central performances and of Terence Blanchard’s score — this is unmistakably a Spike Lee Joint. It’s also an argument with and through the history of film.
  8. i'm thinking of ending things
    This is Kaufman’s most assured and daring work so far as a director.
  9. On the Rocks
    In the past, Coppola’s embrace of ambiguity could feel like a dodge, a way of evading meaning. But in On the Rocks, a wistful and lovely story about finally coming of age, there’s nothing ambiguous about how she makes us see a woman too long lost in life’s shadow.
  10. Greystoke: The Legend of Tarzan, Lord of the Apes
    Greystoke is one of the most thoroughly enjoyable films of its kind I've ever seen.
  11. Rebecca
    An altogether brilliant film, haunting, suspenseful, handsome and handsomely played.
  12. A Passage to India
    Mr. Lean's Passage to India, which he wrote and directed, is by far his best work since The Bridge on the River Kwai and Lawrence of Arabia and perhaps his most humane and moving film since Brief Encounter.
  13. My Hero Academia: Heroes Rising
    This is canny, passionate filmmaking, a reminder of the power of two-dimensional animation. First, it humanizes, then it astounds.
  14. The Mitchells vs. The Machines
    The Mitchells vs. the Machines not only has laughably eccentric characters but also a script packed with bonkers, fast-paced action — with elaborate, wild visuals to match.
  15. The Boys Next Door
    A very well made, disorienting movie about inarticulated despair and utter hopelessness. It reminds me a lot of ''Over the Edge,'' Jonathan Kaplan's bleak, bitter picture of teen-age life in an architecturally perfect, California housing development. Unlike ''Over the Edge,'' however, The Boys Next Door is less interested in causes than in effects, which Penelope Spheeris, the director, turns into the photographic record of a grim, vivid, joyless ride to hell.
  16. My Little Sister
    Distinguished by a modestly discreet directing style that allows the actors to shine, My Little Sister offers neither false uplift nor dreary realism.
  17. The Woman Who Ran
    The Woman Who Ran is a cinematic sketch, and also the work of a master.
  18. Undine
    Undine is ultimately more enigmatic than most of Petzold’s work. It is also, like its title character, eerily beautiful. While it could well serve as a high-end date movie, it’s also something more.
  19. Days
    Tsai’s motives for stretching his shots become clear after a while, and the film builds an uncanny mood.
    • 56 Metascore
    • 90 Critic Score
    Invaders from Mars
    The director, Tobe Hooper, who honed his scary craft on such films as ''The Texas Chain Saw Massacre'' and ''Poltergeist,'' knows how to construct a horror film so it builds to a screaming pitch. He shoots many of his images from below, to give the view a child might have, and deftly manipulates the audience to feel the growing menace. He is helped by an excellent cast.
  21. She Dies Tomorrow
    Dazed but far from confused, “She Dies Tomorrow” tugs at you, nagging to be viewed more than once. Eerie and at times impenetrable, the movie (which was completed pre-pandemic) presents a rapidly spreading psychological contagion that feels uncomfortably timely.
  22. Brighton Beach Memoirs
    Neil Simon is hardly Norman Rockwell, but his Brighton Beach Memoirs has a warmly nostalgic quality, something that has traveled very nicely to the screen...A film of surprisingly gentle charms. Mr. Simon's humor is much in evidence, but it is not the film's strongest selling point. Even more effective are the sense of a place and a way of life long vanished and the care and affection with which they have been summoned up.
  23. The Half of It
    With tenderness, humor and beauty, The Half of It comprehends the chasm between wanting and being.
  24. Pride and Prejudice
    Hunt Stromberg and his associates have managed to turn out a film which catches the spirit and humor of Miss Austen's novel down to the last impudent flounce of a petticoat, the last contented sigh of a conquering coquette.
  25. The Lady Eve
    With The Lady Eve, which arrived yesterday at the Paramount, Mr. Sturges is indisputably established as one of the top one or two writers and directors of comedy working in Hollywood today. A more charming or distinguished gem of nonsense has not occurred since It Happened One Night.
  26. Beyond The Visible: Hilma af Klint
    Beyond the Visible bristles with the excitement of discovery and also with the impatience that recognition has taken so long. It refreshes the eyes and the mind.
    • 87 Metascore
    • 90 Critic Score
    The Invisible Man
    The story makes such superb cinematic material that one wonders that Hollywood did not film it sooner. Now that it has been done, it is a remarkable achievement.
  28. For Whom the Bell Tolls
    In spite of its almost interminable and physically exhausting length—it takes two hours and fifty minutes to cover less than four days in a group of people's lives—and in spite of some basic detruncations of the novel's two leading characters, it vibrates throughout with vitality and is topped off with a climax that's a whiz.
  29. Graves Without a Name
    The accretion of detail — narrative, visual and verbal — gives the movie an unusual density. The depiction of human cruelty is appalling, but the way “Graves” makes the viewer feel the necessity of its filmmaker’s calling is profoundly moving.
  30. Hamilton
    The close-ups and camera movements in this version enhance the charisma of the performers, adding a dimension of intimacy that compensates for the lost electricity of the live theatrical experience.
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