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. Linoleum
    Just when we’re wondering where all this is going, West executes a final act as devilish as it is emotionally potent.
  2. Wood and Water
    With a kind of dissociative, jet lag-induced delirium, the film transitions — somehow fluidly — from the lush woodlands and desolate churches of southern Germany to the flickering lights and modernist textures of Hong Kong in the throes of mass demonstrations.
  3. Till
    Chukwu revisits the past while doing something extremely difficult. She makes this grim American history insistently of the moment — and she does so by stripping the story down to its raw, harrowing emotional core.
  4. The Fabelmans
    The Fabelmans is, as the title says, somewhat of a fable and wonderful in both large and small ways, even if Spielberg can’t help but soften the rougher, potentially lacerating edges. It’s what he does; it’s also what the audience expects of him, and he’s nothing if not obliging.
  5. Broker
    Kore-Eda, remarkably, doesn’t counterfeit a happy ending, but he also refuses despair. He’s an honest broker of heartbreak.
  6. Crimes of the Future
    Despite the morbid laughs and the beatific smile that can light up Saul’s face like that of St. Teresa of Ávila, Crimes of the Future feels like a requiem. Cronenberg has always been a diagnostician of the human condition; here, he also feels a lot like a mortician.
  7. 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.
  8. The Village House (Gamak Ghar)
    The film’s still, square images feel so much like paintings that any stray movement — the smoke rising in spirals from a mosquito coil, or a palm tree swaying in the breeze — can seem like magic, a picture come to life.
  9. Armageddon Time
    It is — astutely, uncomfortably and in the end tragically — about privilege.
  10. Showing Up
    Together, Reichardt and Williams — with little dialogue and boundless generosity — lucidly articulate everything that Lizzy will never say and need not say, opening a window on the world and turning this wondrous, determined, gloriously grumpy woman into a sublime work of art.
  11. Weird: The Al Yankovic Story
    Radcliffe is winningly guileless in his performance, twitching his costume-y eyebrows and mustache like gentle bunny ears even as he lip-syncs “Another One Rides the Bus” with such commitment that his neck veins nearly pop.
  12. Catherine Called Birdy
    Dunham prevails in convincing audiences that coming-of-age in a so-called simpler time was equally tumultuous, and crams the corners of her movie with images of other female characters discreetly seizing their own moments of satisfaction — glimpses of joys which realize that it’s in the margins of a medieval tale where the best stuff happens.
  13. One Fine Morning
    The story’s ellipses and graceful structure are certainly admirable, but what elevates One Fine Morning is the texture of Sandra’s emotions, the revelation of her character, the hunger of her embrace, the wildness of her mouth, the stillness of her sated body, and the love that she gives and will movingly embrace once more.
  14. A New Old Play
    At once tragedy and farce, it breathes new life into a story as old as civilization.
  15. Tahara
    This is a canny, compact portrait of teenage insensitivity, all the more riveting for its biting dialogue and funny performances.
  16. An Autumn Afternoon
    A profoundly simple, profoundly moving film.
  17. De Humani Corporis Fabrica
    The film’s sometimes brusque transitions and decentered perspectives are just as transgressive as any of the graphic imagery.
  18. The Eight Mountains
    The spiritual dimension of Pietro and Bruno’s bond has its appeal, and one of the movie’s pleasures is that it takes male friendship seriously. There’s an expressly erotic dimension to the men’s love for each other, as can be the case with intimate relationships, though not an explicitly carnal one.
  19. Enys Men
    At times, Jenkin’s bold, experimental style can perplex; but his vision is so unwavering and beholden to local history that his message is clear: On Enys Men, the earth remembers what the sea has taken.
  20. Tori and Lokita
    The precarity of the lives that the Dardennes explore give the stories feeling and tension while their directorial choices — including where they put the camera and how they situate characters in the world — give their work its characteristic ethical politics.
  21. Nostalgia
    Martone’s depiction of crime is at once expressive and economic, a world of danger boiled down to pregnant pauses and minute gestures.
  22. Moon, 66 Questions
    Lentzou, with her first feature no less, gets at something much knottier about what it feels like to get older and perceive your parents as full people, in all their flaws and vulnerabilities; the pains and pleasures of adulthood, contrary to expectation, yield just as much, if not more, unpredictability than in youth.
  23. Glass Onion: A Knives Out Mystery
    “Glass Onion” is completely silly, but it’s not only silly. Explicitly set during the worst months of the Covid pandemic — the spring of 2020 — “Glass Onion” leans into recent history without succumbing to gloom, bitterness or howling rage, which is no small accomplishment. One way to interpret the title is that a glass onion may be sharp, and may have a lot of layers, but it won’t make you cry.
  24. 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.
  25. The Music Man
    It's here, and the rich, ripe roundness of it, the lush amalgam of the many elements of successful American show business that Mr. Willson brought together on the stage, has been preserved and appropriately made rounder and richer through the magnitude of film.
  26. We Met in Virtual Reality
    Hunting’s documentary catches up with where many people are finding their dreams realized, and understands that sometimes the dream is simply to be yourself.
  27. Asteroid City
    It’s comic and often wry, but like some of his other films, it has the soul of a tragedy.
  28. The Adventures of Milo and Otis
    The wonder of Mr. Hata's anthropomorphic fairy tale, which opens today at Cinema 3 and other theaters, is that it is cast with real animals who seem to share deep affection. And the mixture of realism and fantasy lends this children's film a poignancy that cuts much deeper than might a similar story featuring animated characters. [25 Aug 1989, p.10]
    • 79 Metascore
    • 90 Critic Score
    Objective, Burma!
    Objective, Burma, directed exceedingly well by Raoul Walsh from a first-class script by Ranald MacDougall and Lester Cole, is a stirring tribute to the sterling fighting men who helped to reopen Burma after the initial Japanese onslaught in the Pacific.
  30. 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.
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