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. 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.
  2. 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.
  3. The Girl and the Spider
    The film demands and rewards repeat viewings; it’s different, and more entrancing, every time.
  4. ¡Viva Maestro!
    Dudamel is a joyfully appealing figure, and the film benefits from following such an amiable subject. But the documentary lacks the rigor it would take to turn this warm portrait into a proper cinematic symphony.
  5. a-ha: the Movie
    There’s a slight wonky interest in seeing the grind of recording sessions and fan service. But the film feels promotional enough that it won’t lean into the potential humor of their situation.
  6. All the Old Knives
    While All the Old Knives keeps cleverly resetting the table it’s laid out, it can’t fundamentally alter the meal.
  7. Sonic the Hedgehog 2
    Sonic the Hedgehog 2 is a fast-paced romp that’s silly, filled with quips and unabashedly for children — which is refreshing, coming at a time when so many other children’s franchises have succumbed to Sturm und Drang.
  8. Aline
    The movie’s passion is incredible — but, boy, is it embodied in something awkward.
  9. Cow
    We somehow feel connected to these animals — not by their precious, humanlike relatability — but by the cyclically banal and thorough means with which they are exploited, milked and bred on aggressive schedules that break their bodies down prematurely.
  10. Metal Lords
    Conventional but genuine, Metal Lords comprehends the riot of adolescent emotions and the many ways teenagers manage them.
  11. Ambulance
    Bay’s virtuosic flouting of the laws of physics, probability and narrative coherence is meant to catapult you into a zone of sublimity where melodramatic emotion and adrenalized excitement fuse into a whole new kind of sensation.
  12. Meat the Future
    If you’re not well-versed in bioengineering or food regulation, it’s a bit of a slog.
  13. RRR
    Rajamouli shoots the film’s action with hallucinogenic fervor, supercharging scenes with a shimmering brand of extended slow-motion and C.G.I. that feels less “generated” than unleashed.
  14. The Bubble
    Elements that have the potential to become running gags . . . either languish or are dropped, as if Apatow simply cut together what he felt were inspired improvisations without regard for flow (or the uncharacteristically cheap-looking visuals).
  15. Royalty Free: The Music of Kevin MacLeod
    The documentary is shot and edited like an infomercial, although it wanders from issue to issue to the extent that a viewer can’t be sure just what it’s pitching.
  16. How to Survive a Pandemic
    The message — that science cannot succeed without a politics of solidarity — is important, but the film ends on a note of uncertainty that feels defeatist rather than urgent.
  17. Trust No One: The Hunt for the Crypto King
    This sensational documentary feels bankrupt at its core.
  18. Gagarine
    Gagarine is more interesting conceptually than it is in execution, but at least the filmmakers know to exalt the setting’s spectral qualities, adding dreamy, hypnotic touches to their phantom portrait of a place that is no longer of this world.
  19. The Contractor
    Pine and Foster sync up flawlessly, even when the dialogue fails them. This isn’t the reunion they deserve, but it’s nevertheless welcome. In silence and in action, they show you the unfathomable loss that the rest of movie never coherently expresses.
  20. Morbius
    Morbius is a ghoulish, suitably downbeat tale of madness, hubris, suffering and weird science set in a world that offers little solace. And while most of it is as predictably familiar as expected, it does something unusual for a movie like this: It entertains you, rather than bludgeons you into submission.
  21. Apollo 10½: A Space Age Childhood
    Apollo 10½ is more a modest memoir than a whiz-bang space epic. Its view of the past is doggedly rose-colored, with social and emotional rough edges smoothed away by the passage of time and the filmmaker’s genial temperament.
  22. Bull
    The film’s rejiggered timeline is a little hard to follow, but the climax swings for the fences and shows an unashamed verve for tale-telling that warms the cockles.
  23. You Won't Be Alone
    You Won’t Be Alone, the ravishing, wildly original first feature from Goran Stolevski, moves so hypnotically between dream and nightmare, horror and fairy tale that, once bound by its spell, you won’t want to be freed.
  24. Barbarians
    “Antichrist” may have been chauvinistic in its own right, but at least was interesting to watch. Barbarians doesn’t provide much excitement at all.
  25. Better Nate Than Ever
    [Tim Federle's] leads deliver hearty performances that elevate the movie, particularly once we’ve had time to adjust to the gusto of Wood, whose wired performance has the flavor of Hugh Jackman’s exuberance squeezed into an espresso cup.
  26. The Rose Maker
    It’s a relaxed film, one that allows the audience to sit back and, if not smell the roses, then at least appreciate them.
  27. The Devil You Know
    The soft-spoken Epps is frustratingly miscast. The editing by Geofrey Hildrew and Scott Pellet limps lifelessly along, and the direction lacks the necessary pulse for a story line with more twists than a low-budget soap opera.
  28. Babi Yar. Context
    Loznitsa has assembled a wrenching and revelatory collage.
  29. Moonshot
    Sprouse plays it a touch broad, veering sometimes from endearing to goofy. But Condor is note-perfect, and Winterbauer directs with a light, playful touch, giving the movie an energy that’s nimble and vibrantly sexy.
  30. Nitram
    The killings themselves may remain off-camera, but the movie is still an uncomfortable watch. In Jones’s smoldering performance, we see a man stretched beyond his limits, a rubber band just waiting to snap back.
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