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. 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.
  2. Mothering Sunday
    Mothering Sunday never conveys the intensity of erotic passion, the ardor of creative ambition or the agony of grief. Even though it is ostensibly about all of those feelings, it handles them with a tastefulness that is hard to distinguish from complacency.
  3. King Otto
    Somewhat gratingly, King Otto treats its story as a tale of national stereotypes colliding head-to-head.
  4. Outside Noise
    Fendt is more interested in tracing the architecture of their ennui than considering its cause or consequences, and the movie observes their leisure with a warm gaze.
  5. Superior
    It is the film’s shaggier pleasures that leave an impression, particularly its soundtrack of ’80s electro disco and a physically shaggy ice-cream parlor manager (played by Stanley Simons) who is too stoned to notice that his new employee is two different people.
  6. Infinite Storm
    With this role, Watts is reminding us that she can hold the screen by herself and without saying a word tell you everything you need to know about a character — and all the while looking fantastic.
  7. Everything Everywhere All at Once
    The movie is a metaphysical multiverse galaxy-brain head trip, but deep down — and also right on the surface — it’s a bittersweet domestic drama, a marital comedy, a story of immigrant striving and a hurt-filled ballad of mother-daughter love.
  8. Olivia Rodrigo: driving home 2 u (a SOUR film)
    As a performance piece, “Driving Home 2 U” is an exhilarating and intimate showcase for Rodrigo, as commentary about her album’s tracks spills seamlessly, in musical-theater fashion, into “Sour” tunes. Songs are newly arranged and presented in some breathtakingly scenic spots.
  9. 7 Days
    7 Days takes a warm, witty look at the kinds of companionship that can emerge even — or especially — in the most unromantic, pragmatic of circumstances.
  10. The Lost City
    While “Raiders” transcends its inspirations with wit and Steven Spielberg’s filmmaking and “Romancing” tries hard to do the same, The Lost City remains a copy of a copy.
  11. Atlantide
    Had Atlantide granted deeper access to Daniele and Maila, these images might have lent a moody complement to the characters and their struggles. As is, any sense of meaning is cast adrift in a sea of pretty pictures.
  12. Bisping: The Michael Bisping Story
    This is all pretty conventional. But then the fighter’s story takes a twist.
  13. Windfall
    Windfall is dramatically flat and logically wanting.
  14. Playing in the FM Band: The Steve Post Story
    The documentary posits him as a pioneer but struggles to pin down how he was unique.
  15. The Cherry Bushido
    It’s all a mess of ideology and theology, of flowing robes, flying fists, karma, camp, cant and can’t: can’t act, can’t kick, can’t marshal any art.
  16. Jane by Charlotte
    Clearly a pet project for Gainsbourg (whose own electronic pop songs feature prominently in the soundtrack, clashing against her mother’s classic tunes), the documentary is defiantly insular and lacking in context.
  17. Love After Love
    What could make for a captivating story involving a transgressive love triangle is, even on a micro level, ineffective.
  18. More Than Robots
    Like many of the young inventors she documents, Jacobs has created a project that doesn’t fall apart at first touch. But her film doesn’t meet the mark for excellence, either.
  19. Intregalde
    Watching it again recently, I now saw a movie that, with humor, tenderness and flashes of filmmaking brilliance, looks at what happens when kindness is tested, masks are dropped and self-interest runs free. It’s all a mess and so are we, which I think is very much to Muntean’s point.
  20. Ahed's Knee
    There’s no doubt that this is, in several senses, a personal film. But that doesn’t mean that the character is simply the author’s mouthpiece; one of the things that gives this movie its raw, unbalanced energy is the indeterminacy of the distance between them.
  21. Cheaper by the Dozen
    The ensemble of children has a natural, authentic-seeming rapport, and Braff and Union, as the beleaguered but loving parents, have an easy, irresistible chemistry, buzzing with big-hearted charisma every time they share the screen.
  22. Panama
    It’s mostly a lot of manic editing and caffeinated camerawork, each trying and failing to juice some excitement out of Hauser’s dull performance.
  23. Alice
    Ver Linden wants us to view Alice as an empowered freedom fighter. Instead she lands as a caricature of one, as the film never really metabolizes or unpacks its conceit: the bonkers time-traveling predicament of its protagonist.
  24. The Outfit
    Sometimes, all you need in a movie is a great actor — well, almost all. Certainly Rylance’s presence enriches The Outfit, a moderately amusing gangster flick that doesn’t make a great deal of sense.
  25. X
    X is a clever and exuberant throwback to a less innocent time, when movies could be naughty, disreputable and idiosyncratic.
  26. Deep Water
    Like Vic’s snails, who must be starved before they can be consumed, Deep Water feels like a movie that’s had everything of interest well and truly sucked out.
  27. The Last Mountain
    There are no real answers for anyone in The Last Mountain. If Terrill never finds a clear narrative or emotional through line for this account, it’s not entirely a surprise. The material resists attempts at uplift.
  28. Josep
    The 74-minute film leaps among time frames without much warning. Occasionally, the screen erupts into crackling black-and-white images drawn directly from Bartolí’s work — as if torn from the very pages of his sketchbooks.
  29. Last Exit: Space
    The movie gives a stimulating but standard-by-Herzog-standards treatment to a stellar subject.
  30. I Am Here
    As inspiring as his chosen subject is, the director missed an opportunity to use the story to deepen our understanding of our own memories, trauma and forgiveness.
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