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. Secret Headquarters
    When the kids are just doing kid stuff . . . Secret Headquarters has the playful, mischievous air of something like “The Goonies.” When the kids acquire some of the Guard’s superpowers and start flying around and fighting baddies, it has the air of … well, of just another superhero movie.
  2. Mack & Rita
    Directed with some unexpected beats by Katie Aselton, the comedy captures a bit of the esprit de girlfriends of HBO’s “Insecure,” but borrows too giddily from the Nancy Meyers rom-com catalog of upscale homes.
  3. Girl Picture
    Haapasalo blesses her trio with a pop soundtrack that crescendos at the peak of a kiss, and climactic crises that are a mite too readily resolved, adamantly gracing this awkward stage of girlhood with forgiveness — not hectoring lessons.
  4. Day Shift
    Jamie Foxx might have top billing, but right there beside him are the professional contortionists whose eye-popping moves are more commonly seen in Las Vegas showrooms than on movie screens.
  5. Bliss
    We tend to look at the sex lives of sex workers as endlessly fascinating, but in Bliss the line of work is instead part of a larger take on the hurdles of modern romance.
  6. Easter Sunday
    Easter Sunday is at its strongest when it stays close to the Valencia family, which is made for TV.
  7. The Magician
    Spectacularly uninteresting...this dreary Antipodean curiosity is a yob-filled slog of hard-man posturing, all of it bathed in an oppressive testosterone funk. And I haven’t even mentioned the hairy buttocks.
  8. Rise of the Teenage Mutant Ninja Turtles: The Movie
    All in all, “Rise” is as dependable as a Manhattan slice: not mind-blowing in the slightest, but just delightfully cheesy enough to keep kids and adults alike satisfied.
  9. Faith
    Pedicini structures the movie as an oblique narrative rather than an exposé. And Faith is all the more disturbing for that. Clearly this distinctive filmmaker was just getting started.
  10. Claydream
    Evans has made a lively and illuminating tribute, and not always an unduly flattering one.
  11. Mija
    An immersive, deeply empathetic look at what it means for first-generation Americans like Doris and Jacks to reclaim the right to pursue unpredictable dreams.
  12. They/Them
    Logan, who also wrote the screenplay, feels so averse to engaging with the thorny political implications inherent in this material — of having to negotiate a cast of gay, transgender and nonbinary characters in a horror context — that the whole thing winds up seeming rather tame.
  13. Wedding Season
    Wedding Season is mostly flavorless, but its interest in capitalistic success inspires a pucker of bad taste.
  14. Luck
    Luck offers fresh ideas; its only misfortune is to present its gifts in recycled wrapping.
  15. Bullet Train
    It’s watchable — it stars Brad Pitt — jokey, sometimes funny and predictably stupid.
  16. Bodies Bodies Bodies
    It’s not that “Bodies Bodies Bodies” is bad. It’s visually appealing and nicely acted. But this film is not special, and like its shallow characters, it is persistently unaware of its own inanity.
  17. Prey
    Despite a female-empowerment theme and an adversary fairly bristling with fancy weaponry, Prey never builds a head of steam.
  18. Gone in the Night
    Twists galore follow, the torque of which surprises again and again.
  19. Thirteen Lives
    This is a pragmatic recounting of a nigh-impossible mission: first, to find the trapped boys, and harder still, to swim them out.
  20. Memory Box
    The relationship between mother and daughter is rather thinly etched — there’s a little too much going on in this ambitious, intergenerational film — but Hadjithomas and Joreige deftly use Maia’s archive to weave together past and present.
  21. I Love My Dad
    Since the audience is in on the scheme from the start, what we get is excruciating, uncut. But not too excruciating, because Franklin is such a drab cipher it’s hard to work up much empathy for him.
  22. Shalom Taiwan
    It’s hard to argue with that message, but one doesn’t have to accept the ho-hum experience of watching this movie.
  23. Exposing Muybridge
    While starchy in presentation, Exposing Muybridge makes clear that its subject’s images still have a lot to show us.
  24. Purple Hearts
    The film wallows in contrived plots and subplots, made worse by the dearth of chemistry between the two leads.
  25. Blue Island
    The past-present parallelism is provocative, but it also seems faintly superficial — a way of eliding distinctions and streamlining history.
  26. Medusa
    Though dressed in shock-value clothing, Medusa is also a straightforward character study, tackling issues like the scourge of Western beauty standards and the difficulties of leaving an abusive relationship along the way
  27. Honor Society
    A twist whipsaws the movie into a darker place, one in the vicinity of Patricia Highsmith. But no murder takes place, and the movie’s resolution confirms what one may have suspected all along: Its dominant room tone is kinda-sorta that of “To All the Boys I’ve Loved Before.”
  28. Not Okay
    As satires go, this one by the writer and director Quinn Shephard is hardly subtle — but though it lacks narrative finesse, Not Okay is brimming with provocative in-jokes for the extremely online.
  29. A Balance
    Takiuchi’s Yuko, in turns motherly and mercenary, is bewitchingly enigmatic: What drives her? Why does she still live with her father? Mercifully, we receive little back story; it’s enough that she is an ambitious woman, choked by ruthless double standards surrounding sex and autonomy.
  30. Hansan: Rising Dragon
    The film’s dramas are ornately costumed but often stilted and lacking the verve of the battle staging. Even the glories of war can turn stultifying when you’re shown one too many thousand-yard-stare reaction shots by military leaders.
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