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. Our Father, the Devil
    In the assured hands of the writer-director Ellie Foumbi, Marie’s unraveling yields not only an absorbing psychological thriller, but a profound meditation on the ethics of immigration.
  2. Infinity Pool
    Surreal, sophisticated and sometimes sickening, Infinity Pool suggests that while the elder Cronenberg might be fixated on the disintegration of our bodies, his son is more concerned with the destruction of our souls.
  3. The Super 8 Years
    Memory is also, I think, one reason we watch movies like this, which with its lapidary narration and melancholic images — with its laughing children, its difficult smiles and its ghosts — movingly pairs you with Ernaux and with the world that she has so brilliantly made.
  4. Skinamarink
    Ingeniously evoking a child’s response to the inexplicable, Skinamarink sways on the border between dreaming and wakefulness, a movie as difficult to penetrate as it is to forget
  5. Are You There God? It's Me, Margaret
    The director-writer Kelly Fremon Craig’s rendering of the book about puberty, family and nascent spirituality offers lessons in how a cherished object, when treated with tender and thoughtful regard, needn’t turn precious.
  6. Blue Jean
    The film’s most impressive quality is its nuanced understanding of how political circumstances create different spheres of life.
  7. Eileen
    Eileen is a mean movie, but I intend that as a compliment: There’s no lesson here, no revelation, no good vibes to wander away with. Spiky and cold, it’s a bitter holiday treat.
  8. birth/rebirth
    Wrapped in drab locations and jaundiced lighting (Chananun Chotrungroj’s photography is brilliantly bleak), this grisly gynecological horror movie is not for the squeamish.
  9. Beyond Utopia
    The engrossing, often tense proceedings are slightly marred by a pushy score. All the same, being able to experience the escape alongside these subjects greatly distinguishes this documentary.
  10. Scrapper
    Scrapper is tender without falling into sappiness.
  11. Rye Lane
    It’s not a spoiler to say that at its conclusion, Rye Lane comes together as only the best rom-coms can, with one of those classic payoffs that’s designed to have you cheering at the movie screen. How Allen-Miller chooses to balance those moments with the unconventional is one of the film’s greatest strengths.
  12. Tetris
    Like its namesake, Jon S. Baird’s Tetris is clever, crafty and shockingly entertaining.
  13. Una Vita Difficile
    It also stands by itself as an exuberant bad time, a pity party that has no business being so much fun.
  14. Gladiator II
    Like Scott’s filmmaking in this pleasurably immersive spectacle — with its foreign ancients and mentalities, exotic animals and equally unfamiliar calls to human nobility — Washington’s performance has skill, intensity and absolute confidence.
  15. Joy Ride
    Joy Ride processes all of its familiar ingredients into a sustained, sometimes near-berserk, barrage of jokes, interspersed with epic set pieces.
    • 98 Metascore
    • 90 Critic Score
    The Passion of Joan of Arc
    FRANCE can well be proud of that great picture, The Passion of Jeanne d'Arc, for while Carl Dreyer, a Dane, is responsible for the conspicuously fine and imaginative use of the camera, it is the gifted performance of Maria Falconetti as the Maid of Orleans that rises above everything in this artistic achievement.
  17. Shayda
    In her first narrative feature, Niasari, who based the story in part on her own experiences, demonstrates an astounding control of pacing and mood.
  18. Kill Boksoon
    Beneath the gore that ensues is a story about understanding.
  19. BlackBerry
    A wonky workplace comedy that slowly shades into tragedy.
  20. Black Ice
    Davis, a Canadian documentarian, zeros in on how hockey has been a vital part of his country’s identity, and what it has felt like for Canadian players of color who love the game to be told, from very young ages, that they do not belong.
  21. Disco Boy
    Disco Boy is a lean but sweepingly ambitious film crafted with formal rigor.
  22. Red River
    Even despite a big let-down, which fortunately comes near the end, it stands sixteen hands above the level of routine horse opera these days.
  23. Chocolat
    Miss Denis's mastery of film-making technology, which is something that can be learned, is equaled by her splendid control of narrative, a more elusive talent. She is astonishing. There are no dark corners in the story. Everything that happens is vivid and clear, though subject to the kind of speculation that tantalizes and rewards.
  24. Stonewalling
    Few movies capture the surreal comedy and engulfing horror of the money-driven world as piercingly as “Stonewalling.”
  25. Afire
    The German filmmaker Christian Petzold’s spiky and at times mordantly funny Afire is a tonic for moviegoers tired of nice, squishable, likable, relatable dull and dull characters.
  26. The Teachers' Lounge
    Taking on the uneasy complexity of a progressive modern society, and the friction produced when pluralism and an insistence on order and obedience collide, is a bold move, and The Teachers’ Lounge pulls it off with a sense of tension that makes the whole thing play like a thriller.
  27. The Origin of Evil
    Abounding with nasty women, The Origin of Evil could have easily been flattened by the weight of a feminist objective. Untethered from such neat messaging, this decadent murder-movie takes the online credo, “be gay, do crimes,” and runs with it — to delicious results.
  28. The Night of the 12th
    This is a refreshingly grounded, deceptively plain picture of crime-fighting as a grind of false leads, workplace fatigue and no closure.
  29. Rewind & Play
    The film is not merely playback or payback on behalf of one Black artist by another. Rewind & Play dazzles because it is and will remain a wonder to witness Monk seemingly discovering his compositions again and again, his fingers conjuring, his right foot etching rhythms.
  30. The Lesson
    Unfolding with a tonic intelligence and a slow accretion of menace, Alex MacKeith’s screenplay is smoothly in sync with the specific skills of each performer.
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