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. The Unmaking of A College
    The closing titles say Nelson “would not agree to be interviewed.” While others try to explain her perspective, her nonparticipation leaves an unavoidable hole. And the testaments to Hampshire’s distinctive academic culture aren’t especially germane.
  2. Worst to First: The True Story of Z100 New York
    The movie’s prefab on-screen graphics are just one reason “Worst to First” has such a limp tone overall.
  3. Bigbug
    Despite some snappy ideas (an aggressive advertising drone pushing products as answers to the family’s every problem), Bigbug is overdressed, overlong and diminishingly amusing
  4. The In Between
    This mawkish plot might be tolerable if its characters were more likable; instead, they are pretension personified.
  5. My Best Friend Anne Frank
    Clinging to Hannah’s naïve viewpoint and the cherished ideal of her friendship with Anne results in some hard truths being hidden away or oddly sanitized.
  6. The Fabulous Filipino Brothers
    Every frame is flush with warm, saturated color, and the vibrant quality of the images conveys joyous generosity. The most poignant appeal of this movie is the feeling it creates of being welcomed into a family that radiates all things bright and good.
  7. The Pact
    Neumann’s baroness is grandiose and transfixing (as are Anne-Dorthe Eskildsen’s handsome costumes).
  8. Marry Me
    Marry Me is a sad tale that’s too busy leaping from plot point to plot point for Lopez to express anything close to real. It tells a lot and shows nothing.
  9. Catch the Fair One
    The nexus of racism, patriarchal power and sexual exploitation gives Catch the Fair One a pulse of righteous anger, and Reis’s charisma — her willingness to show fear as well as resolve — makes Kaylee a magnetic protagonist.
  10. Indemnity
    A South African thriller haunted by the ghosts of many Hollywood blockbusters past, Indemnity trades plausibility and originality for a worthy substitute: a great deal of fun.
  11. Blacklight
    At least Williams displays a bit of inventive flair with novel booby traps and a chase scene that features a lurching garbage truck.
  12. The Sky Is Everywhere
    Too many works aimed at younger age groups ooze with sentimentality or buckle under a condescending tone. Here, in figurative voice-over full of imagery, we receive Lennie’s unbridled imagination and worldview.
  13. I Want You Back
    I Want You Back isn’t particularly clever or emotionally stirring, but it does briskly deliver on the corny promises of the genre, navigating relatable relationship issues by the least relatable means.
  14. Kimi
    However scary that world and however freaky Angela’s situation, Soderbergh never lets the movie get too heavy. Even as the vibe shifts and the atmosphere grows more ominous, he maintains a lightness of touch and a visual playfulness that keeps the movie securely in the realm of pop pleasure.
  15. Death on the Nile
    Death on the Nile, Kenneth Branagh’s second adaptation of Agatha Christie’s Hercule Poirot stories, forgets the simple pleasures of ensemble excess and pure messing about.
  16. Home Team
    It’s yet another comedy of indignities — sorry, make that inanities.
  17. Book of Love
    When, and in which picturesque city, Henry and María will acknowledge their mutual affection is the burning question of this romantic comedy trifle, which offers a few laughs and many more exasperated groans.
  18. Alone with You
    Unfortunately, its lesbian representation is so shoddy that its scares also suffer.
  19. Lingui, The Sacred Bonds
    Again and again, Haroun shows you Amina and Maria alone and together, at times exchanging hugs or tenderly bowing their heads toward each other. Every so often, you see each running along a street alone, her clothes fluttering and body straining with effort. He shows feet and braids, a flash of a bared leg, the teasing glimpse of a belly. He shows you women in motion and in revolt, fleeing and escaping and at times running sly, joyous circles around the men in their lives.
  20. Last Looks
    Kirkby does keep up a jaunty pace. But he also seems preoccupied with impressing his inner hipster, as with an attitude toward race that dares you to call it cavalier. And his again edgy music choices.
  21. The Worst Person in the World
    If The Worst Person in the World is about Julie’s indecision, it’s also about Trier’s ambivalence. Some of the suspense in the film comes from wondering what he will do with her, and whether, as much as he loves her, he can figure out how to set her free.
  22. Breaking Bread
    A lot of the observations in “Breaking Bread” — the repeatedly offered notions that food is a common language or that politics has no place in the kitchen — seem trite and perhaps overly optimistic. The movie would ideally be shown with an accompanying tasting menu.
  23. Moonfall
    This off-world adventure flirts with the transcendently goofy, but Emmerich spoils it by crosscutting to a useless narrative thread on Earth.
  24. Poly Styrene: I Am a Cliché
    More than a journeyman rockumentary, “Poly Styrene” is a thoughtfully finessed filial reckoning: a daughter’s journey toward understanding her mother as a young artist and as a young woman of color.
  25. Jackass Forever
    Two things continue to hoist “Jackass” above its legion of imitators, many of whom are now found on TikTok. First, the razor-sharp slow-motion cinematography, which immortalizes writhing men in wet underpants with the devotion of Michelangelo sculpting “The Pietà.” Second — and more important — is the crew’s friendship.
  26. The Ice Age Adventures of Buck Wild
    Of all the movie’s sins, [Scrat's] omission is unforgivable.
  27. La Soga: Salvation
    Perez is a flimsy leading man, and the film around him — a modest production that doesn’t exactly hide its budgetary shortcomings — is at best a borderline campy B-movie with bursts of bloody action. At worst, it’s a completely self-serious slog.
  28. Clean
    Clean has some real craft, but doesn’t quite satisfy as it toggles between bloodbaths and bathos.
  29. They/Them/Us
    They/Them/Us finds sharp humor in more relatable friction: namely between Charlie and Lisa (Amy Hargreaves) as they attempt to reconcile their domestic responsibilities with their voracious sexual appetites.
  30. The Conductor
    As filmmaking, The Conductor takes a fairly standard approach. The most engaging portions involve music-making itself.
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