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. Resurrection
    Strange describes the world of “Resurrection,” as does entrancing, tender, surprising, mournful and, at times, mystifying; it too is a labyrinth of a kind, one that Bi has filled with abrupt turns, elusive figures and shattering moments.
  2. Nouvelle Vague
    Watching it again, I recognized that Linklater’s film is itself an expression of a certain approach — a consciousness — toward cinema’s pleasures and possibilities, one that at once embraces the art’s past and insists on its future.
  3. Alpha
    Softer and gentler than either of its forbears, "Alpha" hums with a dreamlike unease, a movie less concerned with sensation than with genuine feeling.
  4. Two Prosecutors
    Mordantly comedic, Two Prosecutors is deliberately paced but makes a tightly conceived addition to Loznitsa’s work, which rides deep into the long, dark nights of Russian history with fiction, observational documentary and immersions in the Soviet archives.
  5. Splitsville
    Covino and Marvin continue to forge a distinct comic sensibility — and, what’s rarer these days, they know how to make the camera work for the humor. Their knack for sight gags and staging in depth would shame the makers of the recent “Naked
  6. Sentimental Value
    Trier’s lightness of touch makes a striking contrast to the film’s emotional weightiness. Death haunts this movie, as it does other of Trier’s features, and while “Sentimental Value” has bursts of pure comedy (it can be very funny), it’s steeped in melancholy.
  7. Yes
    Yes is an unsparing movie and can be hard to watch partly because Lapid’s raw fury and maximalist approach can border on off-putting excess. There are times in “Yes” when he seems to be veering out of control. At other times, he almost seems to bait you to look away, to turn off and tune out just like his revelers, even as he inexorably pulls you in, forcing you to bear witness alongside him.
  8. My Father's Shadow
    It’s that sharp contrast of beauty with an undercurrent of pain that makes “My Father’s Shadow” so bittersweet, and it’s why it cuts to the quick.
  9. The President's Cake
    It’s a striking, mature debut.
  10. Orwell: 2 + 2 = 5
    Densely packed, the movie is a whirlwind of ideas and images, by turns heady, enlivening, disturbing and near-exhausting. It’s a work of visceral urgency from Peck, who’s best known for his 2017 documentary “I Am Not Your Negro,” about James Baldwin.
  11. Wake Up Dead Man: A Knives Out Mystery
    What really makes Wake Up Dead Man work is that Father Jud and Benoit Blanc are two peas in a pod, when it comes right down to brass tacks.
  12. My Mom Jayne
    It is the exquisitely relatable messiness of this exceptional family tale that lingers.
  13. A House of Dynamite
    Bigelow’s work here is superb. She puts the many moving parts into coordinated place and keeps them coherently spinning even as she switches out some elements and introduces others; she doesn’t drop a single plate. The script occasionally gets in her way, which sometimes happens in her work.
  14. Boys Go to Jupiter
    Here is a movie notably unafraid to manifest the weirdest of the weird, no matter what the Mr. Moolahs of the world have to say.
  15. Life After
    Life After doesn’t equivocate; neither does it offer easy answers. It tackles a thorny topic in a challenging way, with the tenderness, complexity and — notwithstanding Davenport’s earlier wish — the personal perspective it deserves.
  16. Preparation for the Next Life
    Preparation for the Next Life is all the more potent for choosing naturalism over melodrama and sensitivity over sentiment.
  17. Sunday Best: The Untold Story of Ed Sullivan
    A music journalist-turned-filmmaker, Jenkins had the hip-hop bona fides to guarantee “Sunday Best” would not be a white savior tale. Instead, his film reveals the authentic amity and steadfast values of an ally.
  18. Diva
    Though it means to be a romantic suspense-thriller, it has the self-consciously enigmatic manner of a high-fashion photograph, the kind that's irresistible to amateur artists who draw mustaches on the perfectly symmetrical faces of pencil-thin models in sables.
  19. Put Your Soul on Your Hand and Walk
    Put Your Hand on Your Soul and Walk is not just a document of a life and a hope extinguished. It is also the best way to hear from Hassouna. And it’s a film about crossing borders; we get to see just a little of what she saw.
  20. Two Seasons, Two Strangers
    Li, carrying a camera she has inherited, appears to search for inspiration in her surroundings, too. Whatever elusive quality she is seeking, Miyake has found something like it. His film gently balances tidiness and looseness, connection and alienation and artifice and the natural world.
  21. Magellan
    The most arresting way that Diaz telegraphs, though, is through the sheer beauty of his images. The movie is often visually intoxicating, at moments gasp-out-loud ravishing, especially in its presentation of the natural world, which can have a soft visual quality that deepens the sense of otherworldliness.
  22. Our Land (Nuestra Tierra)
    Drawing attention to the filming technology, Martel implicitly reminds us that Chocobar’s case only came to trial because it was filmed and uploaded to the internet in the first place.
  23. Cover-Up
    Cover-Up is a model of efficient, engaging documentary filmmaking; it looks good, for starters, and it moves energetically.
  24. Calle Málaga
    The viewer might think, Ah, it’s going to be one of those films where the hero’s resistance softens as she meets a quirky collection of fellow residents. It is not. The Moroccan director Maryam Touzani and her husband, Nabil Ayouch (“The Blue Caftan”), who wrote the script with her, have something more delicate in mind.
  25. The Choral
    A moving account of music as a way of coping with war, as well as keeping it at bay.
  26. Baahubali: The Epic
    The battle scenes and one-on-one combat roar with energy, blending Rajamouli’s C.G.I. artistry, staging and inventive showmanship. The militarized kingdom of Mahishmati has the grandeur of silent-screen epics, and although romantic sequences with the rebel warrior Avanthika are scaled back, the film’s flying-ship song set piece is a candy-coated delight.
  27. The Love That Remains
    The landscape in which this family makes its domestic life is wild and lovely, and Palmason signals the changing of the seasons by showing us all of its beauty: the snow and ice, the sunshine and greenery, beautiful skies, placid water. The weather can be both delightful and harsh, warm and chilly, and that’s mirrored in the characters.
  28. Send Help
    Send Help may not be peak Raimi (that, to my mind, would be A Simple Plan), but it’s Raimi at peak pulp. I’ll happily take it.
  29. You Got Gold: A Celebration of John Prine
    As concert films go, “You Got Gold” is pretty straightforward. It doesn’t need to be anything more than that. Prine’s songs are full of wisdom, drama, laughs and heartache.
  30. Hokum
    Reveling in misdirection and a teasing duality . . . Hokum profits from Colm Hogan’s insinuating camera as it noses through gloomy corridors and a terrifying dumbwaiter shaft, hinting at what lurks on the other side of the frame.
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