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. Women Is Losers
    It’s arguable that Celina’s emotional distance is a true reflection of how working class women manage their feelings in order to cope. But it could be dissatisfying to a viewer craving to see women’s interior lives; their pain rather than their resilience.
  2. Escape from Mogadishu
    With little interest in elucidating the conflict at hand, much less in distinguishing between the various Somali parties in play, “Escape” is a wildly inadequate history lesson — it’s a silly blockbuster after all. More offensive is the film’s eagerness to whittle one nation’s traumatic episode into a setting for confectionary escapades.
  3. Found
    While the young women harbor overlapping questions, Found makes it clear they also have yearnings unique to them.
  4. Dune: Part One
    The designs and textures of the movie’s various worlds and their inhabitants are arresting, filigreed and meaningful, with characters and their environments in sync.
  5. The French Dispatch
    Anderson expresses a fan’s zeal and a collector’s greed for both canonical works and weird odds and ends, a love for old modernisms that is undogmatic and unsentimental. Which is not to say unfeeling.
  6. Night Teeth
    A strangely listless vampire tale that unspools with some style and precious little sense.
  7. All About My Sisters
    A film bristling with the kind of familial rancor that usually only emerges behind closed doors.
  8. Prism
    Densely thoughtful, Prism has beautiful and poignant moments.
  9. Introducing, Selma Blair
    The greatest asset of the film is its ability to simulate the intimacy of disclosure, and Blair’s comfort with the camera — her actress-y will to entertain — makes her a uniquely endearing subject.
  10. Son of Monarchs
    The film’s rich imagery will be imprinted in your memory, returning to you in dreams.
  11. Convergence: Courage in a Crisis
    The critical edge of the film feels blunted by platitudes (“Opportunities are born from crises,” says Tedros Adhanom Ghebreyesus, the director-general of the World Health Organization), not to mention the exhaustion viewers will likely feel in reliving early memories of the still-ongoing pandemic for nearly two hours.
  12. Fever Dream
    Lllosa’s sensually shot film takes the story of a mother facing strange danger and casts a spell that feels like being dropped into the character’s mind.
  13. Bergman Island
    It’s a movie that isn’t quite sure whether it wants to be one, or which one it wants to be. Which makes it feel like more than just a movie.
  14. The Velvet Underground
    As a documentary, it’s wonderfully informative. It’s also a jagged and powerful work of art in its own right, one that turns archaeology into prophecy.
  15. Wheel of Fortune and Fantasy
    Wheel of Fortune and Fantasy is a perfect entry point into Hamaguchi’s work. Not every episode works equally well or hits as hard, but both times I watched this movie, I found something to admire, consider, argue with and weep over.
  16. Halloween Kills
    An indolent, narratively impoverished mess that substitutes corpses for characters and slogans for dialogue.
  17. Suzanna Andler
    It’s a test of patience to watch these glass figurines discuss their romantic entanglements, the doll house on the Riviera that they will maybe rent, the bourgeois marriages they will maybe leave. Even the camera seems bored, as if it might wander off.
  18. Held for Ransom
    Should you be willing to overlook certain intrinsic difficulties, Held for Ransom is a surprisingly thoughtful hostage drama given the blunt meatheadedness of its title.
  19. The Trip
    The Trip is occasionally fun, but other films have handled gleeful gore and psychological torture with a far more skillful touch.
  20. Luzzu
    Malta’s views are arresting, but the images Camilleri chooses would never be found in a travel brochure. In his subtle, vérité approach, he captures something special — not one man’s crisis, but a community’s culture.
  21. Needle in a Timestack
    [A] sluggish, blandly slick time-travel romance.
  22. Hard Luck Love Song
    Corsbie has filmmaking energy to spare but also makes many undergrad errors.
  23. The Last Duel
    The movie is weirdly entertaining, but the world it presents, despite its flourishes of comedy, is cold, hard and unforgiving.
  24. South of Heaven
    The execution is at once laconic and nonsensical.
  25. Lamb
    Slow-moving and inarguably nutty, Lamb nevertheless wields its atavistic power with the straightest of faces, helped in no small measure by an Oscar-worthy cast of farm animals.
  26. The Rescue
    The mechanics of the operation boggle the mind, and in presenting them so elegantly, Vasarhelyi and Chin offer more edge-of-your-seat drama than most thrillers — certainly enough to make the Hollywood version in the works from Ron Howard feel surplus to requirements before cameras have even rolled.
  27. Mass
    The movie lacks the gut punch of live theater, the thrill or discomfort of watching people show their feelings in real time. But as cinema, it demonstrates the effectiveness of simplicity. A well-written script and an exemplary cast can still produce a movie worth watching.
  28. Pharma Bro
    Hodge is not always on Shkreli’s side, but he appears convinced he’s made a well-rounded portrait, as opposed to a dubious, bottom-feeding, bro-to-bro testimonial.
  29. Distancing Socially
    It’s fine that nothing major happens in this charmless quaran-com; it is concerning, however, that neither the audience nor the actors, sitting stiffly behind their screens, are given reason to care.
  30. Knocking
    The film does strike one long, nerve-jangling note, but the style leaves Molly with nowhere to run.
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