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. Clara Sola
    Araya is remarkably tender as she sinks her fingers into the earth or gingerly lifts bugs off the ground, while Sophie Winqvist Loggins’s hushed, soft-focus camerawork imbues these moments with an almost spiritual grace.
  2. Sniper. The White Raven
    Like many other movies trailing a lone gunslinger, Sniper: The White Raven builds to a tense face-off, which for our hero comes to represent a small measure of justice.
  3. Minions: The Rise of Gru
    Amiable and colorful as it is, the movie is also spectacularly inconsequential.
  4. Hallelujah: Leonard Cohen, a Journey, a Song
    The documentary’s account of the song’s fate, indebted to Alan Light’s book “The Holy or the Broken,” is a fascinating study in the mechanics and metaphysics of pop-culture memory.
  5. Accepted
    As we witness both the documentary’s subjects — and its director — navigate a shocking development in real time, a quietly probing film emerges that pierces the myth of American meritocracy.
  6. The Art of Making It
    Edwards’s generic approach — heavy on talking heads and explanatory title cards — often yields fuzzy results, with a haphazard rush of information overwhelming the rare moments the documentary settles into a more defined and compelling point of view.
  7. Down with the King
    The trait Down With the King exhibits most powerfully is patience, something in short supply in modern cinema or, for that matter, the modern world.
  8. Doula
    The running time is too long, and the finale’s screaming too prolonged; but, unlike childbirth, this good-natured movie delivers a dry, funny and utterly painless experience.
  9. Endangered
    Covered in isolation, any of these interview subjects, or any of the problems facing journalists raised — online harassment, police intimidation, hedge fund ownership of newspapers, news deserts — might have made for a more detailed and compelling film.
  10. Beba
    Beba is profound. The filmmaker delves into all of who she is, including darker or more destructive aspects of her identity, pushing viewers to see Huntt’s complexity — and perhaps their own.
  11. Rise
    It’s not simply a movie about how Giannis became one of the most dominant players in the league. It’s about why Giannis is so lovable.
  12. Vedette
    Vedette joins a recent roster of documentaries about the uses and abuses of farm animals (others include “Cow” and “Gunda”). It’s disappointing that Bories and Chagnard fail to add anything to this environmentally urgent topic beyond their own surprise that these animals are more than indistinguishable milk factories.
  13. We
    An acute awareness of the relationship between memory, whether personal or collective, and identity emerges as the engine of We.
  14. Olga
    Budiashkina, a Ukrainian gymnast in her acting debut, plays Olga beautifully as a guarded, stubborn teenager with the weight of exile on her shoulders, who refuses to quit but still needs her mother, who is stone-faced on the mat but still cries into a stuffed animal.
  15. Marcel the Shell with Shoes On
    The self-reflexiveness of the entire enterprise only breaks the spell that Slate and Camp work hard to maintain — one which Rossellini effortlessly keeps intact with intelligence, beautifully controlled phrasing and a soft, melodious warmth that feels like a tender caress.
  16. Trevor: The Musical
    One wonders if this generation’s more attuned and sensitive kids will find this staging of “Trevor” quaint, kitschy — or perhaps still universal.
  17. Elvis
    In the end, this isn’t a biopic or a horror movie or a cautionary parable: It’s a musical, and the music is great. Remixed, yes, and full of sounds that purists might find anachronistic. But there was never anything pure about Elvis Presley, except maybe his voice, and hearing it in all its aching, swaggering glory, you understand how it set off an earthquake.
  18. Beavis and Butt-Head Do the Universe
    “Do the Universe” knows it won’t change the world, or precincts outside it. But the abundance of not entirely cheap laughs that this movie — which is best watched over a plate of nachos — delivers is therapeutic.
  19. The Human Trial
    Shot largely in hospital waiting areas, offices and conference rooms, The Human Trial is not a visually dynamic movie. But it builds a good head of steam in the narrative intrigue department before resolving on a low-key note of hope.
  20. Wildhood
    The quiet candor with which Hannam addresses issues of masculinity, and how it intersects with an Indigenous and queer identity, elevates this otherwise conventional story.
  21. Love & Gelato
    It’s the kind of film that is more interested in the appeal of a good Italian accent than it is in finding novel, or even particularly beautiful, ways to shoot and see Rome. The conscious callowness is agreeable, but it lacks freshness, like a midnight pasta reheated in the microwave.
  22. Apples
    The movie never manages to hit above a dim emotional pitch, and a final-act awakening lands with a shrug.
  23. Flux Gourmet
    The film isn’t so much an allegory or fantasy as a witty philosophical speculation on some elemental human issues. We are animals driven by lust, hunger and aggression, but also delicate creatures in love with beauty and abstraction. Those two sides of our nature collide in unexpected, infinitely variable ways.
  24. The Black Phone
    In place of gouting gore and surging fright, this enjoyable adaptation of Joe Hill’s 2005 short story has an almost contemplative tone, one that drains its familiar horror tropes — a masked psychopath, communications from beyond the grave — of much of their chill. The movie’s low goose bump count, though, is far from ruinous.
  25. Chernobyl: The Lost Tapes
    Chernobyl: The Lost Tapes, directed by James Jones, does not extensively explore the history of its components. It’s less concerned with the tapes themselves than with the act of bearing witness.
  26. Granada Nights
    a hackneyed story of a tedious, lovelorn expatriate, pulling himself together and dragging us around with him.
  27. The Story Won't Die
    If Gerson’s brisk supercut style can feel frustratingly cursory at times, he chooses wisely to concede the stage to the artists — rousing scenes from concerts and recitals are the film’s highlights — rather than turn them into data points for an exhaustive account of the refugee crisis.
  28. Civil: Ben Crump
    “Civil” yields fewer insights than hoped. At times, the neat documentary feels nearly as tailored as Crump’s suits.
  29. Mad God
    Strange and squelchy and all kinds of sick, Mad God comes at you with nauseating energy, its flood of dystopian images both playful and repulsive.
  30. Cha Cha Real Smooth
    I didn’t believe a single second in Cha Cha Real Smooth, but the movie isn’t trying to convince you of anything. It just wants you to like it. It wants you to smile, nod in recognition, shed a tear or two and feel good about yourself for liking it. It’s an exemplar of American indie entertainment at its most canned and solipsistic.
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