The New York Times' Scores

Select another publication »
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
view
per page
  1. Polar Bear
    To its credit, Polar Bear isn’t just playing in the snow; there’s a very conscious through-line of conservation, highlighting how climate change has negatively affected the Arctic’s ecosystem
  2. Stanleyville
    The contest intentionally lacks meaningful rewards, an obvious metaphor for life’s arbitrary stakes. But as cinema, the lack of purpose becomes a test of patience.
  3. Hit the Road
    What makes Hit the Road so memorable and devastating is the way it explores normal life under duress.
  4. The Unbearable Weight of Massive Talent
    The director Tom Gormican, who wrote the script with Kevin Etten, gets the job done, churning the nonsense. There are no surprises other than the movie is watchable and amusing, though it’s too bad Gormican didn’t let Cage and Pascal just go with the absurdist, shambolic flow.
  5. The Northman
    What’s perhaps most impressive about The Northman is that it hurtles through 136 minutes of musclebound, shaggy-maned mayhem without a whisper of camp or a wink of irony. Nobody is doing this for fun. Even if, in the end — thank goodness — that’s mostly what it amounts to.
  6. Charlotte
    In the end, Charlotte is bereft of the spirit of the artist who made the uncanny “Life? or Theatre?” What an even better tribute the movie would have been had it also taken heated energy from Salomon’s art.
  7. Y cómo es él?
    Though Winograd questions the film’s gender biases in the conclusion, he does so unconvincingly. At a quick 95 minutes, at least the whole thing zips by, however brainlessly.
  8. Marvelous and the Black Hole
    Cech is believable as a troubled teenager, and it’s refreshing to see an Asian American girl as a protagonist, but the film has a limited emotional range, jumping among several plot elements without fully fleshing them out.
  9. Sexual Drive
    Consistently intriguing and occasionally hilarious, the movie does not depict sex itself. Instead, the characters eat food items that become objects of titillation, lust and pleasure: the sticky goo around soybeans, chili oil sizzling in a wok.
  10. Saturday Fiction
    Star power is a logic unto itself, and Lou has ensured a limitless supply by casting Gong as an actress-spy. She conveys depths of pain and longing even when the script offers none, seducing us as effortlessly as Jean seduces her enemies.
  11. The Duke
    It is a pity that Richard Bean and Clive Coleman’s script mires Bunton in a soggy family drama about an unresolved death; an elder son (Jack Bandeira) who flirts with crime; and a wife, Dorothy (Helen Mirren, so sheepish as to be near invisible), who is humiliated that her husband prefers prison to a stable home.
  12. Petite Maman
    With delicacy, minimal dialogue and lucid, harmoniously balanced images, Sciamma (“Portrait of a Lady on Fire”) invites you into a world that is by turns ordinary and enigmatic.
  13. See You Then
    The chemistry of its stars gives the movie a curious magnetism that is almost enough to forgive its flaws.
  14. White Hot: The Rise & Fall of Abercrombie & Fitch
    While the movie provides encouraging evidence of how much societal sensibilities have changed, it is fundamentally dressing up well-worn material.
  15. Cypress Hill: Insane in the Brain
    Cypress Hill: Insane in the Brain, named for one of its signature songs, is an often engaging chronicle of the group (which has sold more than 20 million albums), one that is probably best appreciated by fans.
  16. Choose or Die
    If any creativity went into Choose or Die, a by-turns creepy and hacky feature debut from Toby Meakins, it appears to have been directed solely toward nastiness.
  17. To Olivia
    How parents mourn a child’s death together — or apart — is among life’s aching mysteries. The director John Hay plumbs the poignancy well but avoids any tussling with Dahl’s legacy, tarnished by antisemitic statements.
  18. Women of the White Buffalo
    Though the film lacks a clear narrative arc, put together, these stories draw a line between the historical genocide and displacement suffered by Indigenous people and the present destitution on reservations.
  19. Wyrmwood: Apocalypse
    If you’d like to see the horror-action equivalent of an old metal rock musician lighting his electric guitar on fire and then playing it with his teeth, this is your movie.
  20. We're All Going to the World's Fair
    In the tradition of internet science fiction, “World’s Fair” teases the boundary between the actual and the virtual, though in a frame of mind that is quietly ruminative rather than wildly speculative.
  21. The Tale of King Crab
    The movie’s depictions of landscapes both sere and fertile, and its all-but-palpable portrayals of isolation, have echoes of the best work of Werner Herzog and Lucrecia Martel. But de Righi and Zoppis here show more genuine affinity than affected influence; they’re moviemakers worth keeping an eye on.
  22. Dual
    There is something insincere in this movie’s manner, an aloofness that masquerades as satire but repels inquiry or emotion. “Dual” takes a worthy idea and throws a smoke bomb in its middle, leaving the audience to squint through the haze.
  23. Paris, 13th District
    Audiard’s touch here is light, sensitive and attentive as usual; you feel his fondness for these characters and their world in every frame.
  24. Fantastic Beasts: The Secrets of Dumbledore
    This is the most absorbing and well-paced film in the trilogy to date, despite its nearly two-and-a-half-hour running time — de rigueur for modern spectacles that want to convince audiences they’re getting enough bang for their buck. “Secrets of Dumbledore” gestures toward themes of frailty, thwarted intentions and forgiveness.
  25. Father Stu
    Stu’s travails feed into his salty homilies about getting closer to God, delivered with Wahlberg’s usual bluffness. That doesn’t automatically translate into a religious experience, and watching the movie can feel like a two-hour hearty handshake.
  26. La Mami
    Garvín’s adept camerawork allows the story to unfold so seamlessly in its vérité style, that the film emanates the magic of a scripted drama without revealing any noticeable interference.
  27. Donbass
    Donbass, at once brutally satirical and grimly compassionate, focuses on the subtleties and grotesqueries of human behavior. Loznitsa paints sprawling tableaus of cruelty, corruption, vulgarity and lies through a series of intimate vignettes.
  28. Shakespeare's Sh*tstorm
    The durable director Lloyd Kaufman lobs multiple notions at the screen to see what sticks. In a movie held together with this many slimy fluids, pretty much everything does.
  29. As They Made Us
    Even with veterans like Hoffman and Bergen, it’s Agron’s film. She and Bialik make Abigail’s filial loyalty as sympathetic as it is exasperating, and as rife with difficult truths about aging as it is understatedly hopeful about growing up.
  30. Return to Space
    Glowing with grandiose pronouncements and uplifting sentiment, Return to Space, a draggy documentary about America’s first manned spaceflight since 2011, could be easily repurposed as promotional material for Elon Musk’s SpaceX.
Page:

Top Trailers

See all »
See all trailers »