The New York Times' Scores

Select another publication »
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
view
per page
  1. The Crime Is Mine
    The Crime is Mine is the epitome of a comfort film, decked out in old-Hollywood nostalgia and unfolding at an auctioneer’s clip. Its fun and games are deceptively smart — all the more because the women know their angles so triumphantly well.
  2. Out of Darkness
    Unfolding entirely in a fictional language (which the actors deliver with fluid conviction), and enriched by lovingly rendered practical effects, this first feature from Andrew Cumming pairs its minimalist narrative with the maximum of atmosphere.
    • 84 Metascore
    • 90 Critic Score
    King & Country
    King and Country is an uncompromising film. Some of its scenes are so strong they shock. Those who can take it will find it a shattering experience.
  4. Inside Out 2
    Franchises often bank on nostalgia, so it’s easy to fall for “Inside Out 2,” which works largely because the first one does wonderfully well. The new movie conforms to the original’s ethos as well as inventive template, its conceit and visual design, so its pleasures are agreeably familiar.
  5. Beyond the Aggressives: 25 Years Later
    Peddle hews close to his original film’s style: he asks his subjects to define themselves and then he keeps watching, letting their actions color in the lines of their self-definition. It’s an approach which grants dignity to his subjects, an effect which is only amplified by the passage of time.
  6. Chicken for Linda!
    For all its playful color-block hues and deceptively casual illustrations, the movie delivers a sharp mix of pathos and humor.
  7. A Prince
    That passion could bloom in such spontaneous and unexpected forms is part of this enigmatic film’s potency.
  8. Artie Shaw: Time Is All You've Got
    An all-star roster of interviewees, including the luminaries Mel Tormé and Buddy Rich, contributes to an unfailingly entertaining saga.
  9. Apolonia, Apolonia
    Apolonia, Apolonia is beguiling as a portrait of women with ambition, but also bittersweet.
  10. Love Lies Bleeding
    In Love Lies Bleeding, Glass borrows liberally but not mindlessly. Instead, she takes familiar themes and more than a few clichés — romantic doom, family trauma — and playfully bends them to her purposes.
  11. Rose
    Alongside Oplev’s commitment to genuine feeling and complexity — you won’t find easy solutions here — Grabol’s performance shines.
  12. Kinds of Kindness
    It’s a triptych that at first seems slight, then gains meaning the longer you hold its three seemingly disconnected short films in juxtaposition and peer through the overlaps.
  13. Megalopolis
    In the end, what matters is the movie, a brash, often beautiful, sometimes clotted, nakedly personal testament. It’s a little nuts, but our movies could use more craziness, more passion, feeling and nerve. They could use a lot more of the love that Coppola has for cinema, which he continues to pry from the industry’s death grip by insisting that film is art.
  14. Blitz
    The movie bears comparisons to Dickens, both for George’s plight and for the depiction of class divides across a war-torn London. But there is something else going on narratively here. For one, McQueen makes a point of integrating into the film what is rarely seen in movies of this sort: a sharp depiction of racism among Londoners, the enraging sort that has so calcified it still surfaces when people are just trying to survive.
  15. The Brutalist
    Many movies offer up a slice of reality; true to the architectural aesthetic that its title invokes, this one offers a slab.
  16. It's Not Me
    Love poem, restless dream, troubled history, alchemist’s scrapbook — Leos Carax’s It’s Not Me is pure cinema as it dances through its dense 42 minutes.
  17. A Different Man
    There’s some John Carpenter in this film, and some Woody Allen, and some John Cassavetes, and a healthy dose of Charlie Kaufman-style surreality. The result is shrewd, and fantastic, and something all its own.
  18. The Fire Inside
    The Fire Inside has a little more going on under the hood than your average sports movie.
  19. MaXXXine
    Darker, moodier and altogether nastier than its predecessors — “X” (2022) and, later that same year, “Pearl” — this hyperconfident feature is also funny, occasionally wistful and deeply empathetic toward its damaged, driven heroine.
  20. Oh, Canada
    Schrader’s approach to this material — it’s his second movie based on a novel by Banks, the first being “Affliction” (1998) — is fascinating, a filmmaker’s translation in every sense of the word.
  21. The Substance
    The sharpest critique isn’t about bodies, but about the way we’ve trained ourselves to look at those bodies, and the effect that has on our own. The movie is, appropriately enough, a mirror, and our discomfort reveals our own hidden biases and fears about ourselves.
  22. Household Saints
    The story is filled with strange, homespun miracles, and this single-minded little film could be counted as one of them.
  23. Mambar Pierrette
    Mbakam hits a remarkable balance. The sociopolitical truths that make up Pierrette’s losing streak are evident, without the miserable patronizing so common in films about struggle in Africa.
  24. Skin Deep
    What does love really mean? Skin Deep gives an answer: that real love is an act of radical imagination, of working to understand what it feels like to be another person. In reality, we can’t just swap bodies to find out — but love beckons us to try anyhow.
  25. Presence
    Presence is another ideal trap to trip for a filmmaker who enjoys challenges and changing it up artistically as much as Soderbergh does.
  26. Between the Temples
    The movie is consistently funny, but its humor tends to be fairly gentle because it’s rooted in human behavior rather than in condescending, judgmental ideas about such behavior.
  27. Exhibiting Forgiveness
    Forgiveness may not be about making nice. Filling in a painful gap may not lead to tidy reconciliation. Still, something true will appear. Kaphar may be new to feature filmmaking, but that’s some grown wisdom.
  28. My Old Ass
    It’s as much about reframing middle-aged regrets as it is a story about youth, love and possibility — and thus the emotional heft it wields is two-pronged.
  29. Good One
    Good One is the writer and director India Donaldson’s feature debut, and an astounding one, full of the kind of emotional detail that can only come from personal experience.
  30. Dìdi
    You get the sense watching Didi that this is a bit of an apology from Wang to his own mother for not seeing her as a real person when he was young. But that isn’t all it is: It’s a funny, heartfelt movie, tapping into the audience’s latent memories as well as our great relief at no longer being 13.
Page:

Top Trailers

See all »
See all trailers »