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. Golden Voices
    Job tensions hammer at the fault lines of the couple’s marriage, but the movie maintains an understated “I love ya, tomorrow” tone. A pleasant sit — the kind of picture that’s moving, but not too moving.
  2. There's Someone Inside Your House
    In trying to have it both ways, Brice has created a messy, overstuffed parody of moral policing that squanders the promise of its cleverly executed opening.
  3. Ascension
    This aestheticization of Chinese society doesn’t exactly sit well with this viewer: one wonders if this counts as a kind of tourism.
  4. Justin Bieber: Our World
    Alternating like clockwork between live numbers and soft insight dulls the film’s rhythm, diminishing the excitement it’s going for as it counts down the days to showtime.
  5. Jacinta
    This is not a happy story. The lucidity with which these subjects speak to their own mistakes and sorrows will leave you haunted.
  6. The Manor
    Despite some flat cinematography and borderline goofy special effects, The Manor gives us a distinctive 70-year-old woman as its protagonist and a twisty ending sure to polarize.
  7. Madres
    A subdued score and some by-the-book camerawork can make this urgent story drag, but what it lacks in sting it makes up for with an original script (by Marcella Ochoa and Mario Miscione) and a ferociously pregnant protagonist who would make the “Fargo” character Marge Gunderson proud.
  8. V/H/S/94
    I suppose it doesn’t cohere into anything more than the sum of its parts. But this is the first time I’ve felt the anthology horror format really worked, and gosh, the parts are really good.
  9. Britney Vs. Spears
    Britney vs Spears underscores how tricky it is to make a credible documentary about a celebrity under duress without repeating many of the gestures that treat fame as the sine qua non of American culture.
  10. The Addams Family 2
    Where it could lean into the typically bone-dry Addams family humor, this film more often relies on poop jokes, explosions and the musical talents of Snoop Dogg. It’s sure to entertain little ones, but parents may find themselves itching for something more impish.
  11. Enormous: The Gorge Story
    [A] friendly and entirely uncritical documentary.
  12. Coming Home in the Dark
    While the whole thing is ruthlessly well done, it also sometimes seems to lean into a kind of moral relativism.
  13. Falling for Figaro
    [A] thoroughly generic and often monotonous romance.
  14. Mayday
    For a film about misandrist revolutionaries, Mayday lacks the courage of its convictions — it sets up boogeymen as targets only to shoot them point blank, in broad daylight.
  15. Bingo Hell
    Despite the generally humorous vibe, Bingo Hell quietly accumulates an unignorable pathos.
  16. Black as Night
    The special effects are fine, if unremarkable, but the actors are into it and the script manages to be thoughtful without dampening the fun.
  17. Karen Dalton: In My Own Time
    An excellent documentary directed by Richard Peete and Robert Yapkowitz.
  18. The Many Saints of Newark
    In the end, the best thing about “The Many Saints of Newark” is that it makes you think about “The Sopranos,” but that’s also the worst thing about it.
  19. Venom: Let There Be Carnage
    Let There Be Carnage flourishes in high-energy moments and feeds off low expectations; it’s the mold in the Avengers’ shower.
  20. Old Henry
    Old Henry makes a solid, honorable go of proving once again that the foursquare western isn’t dead, though in paying homage to its forebears, it inevitably stands in their very long shadows.
  21. Stop and Go
    Everton and Call are charming enough, and Everton is a particularly magnetic physical performer, but their high jinks . . . are hit-and-miss. But mostly miss.
  22. The Guilty
    Essentially a one-man show, The Guilty necessarily vibrates to the rhythms of its lead.
  23. Titane
    For all its reckless style and velocity, Titane doesn’t seem to know where it wants to go.
  24. No Time to Die
    The overall vibe — a look that is both opulent and generic; a tone that mixes brisk professionalism with maundering self-pity; an aggressive, exhausting fusion of grandiosity and fun — is more superhero saga than espionage caper.
  25. No One Gets Out Alive
    The movie has not bothered to connect its ideas.
  26. Birds of Paradise
    Structured around a countdown to the ultimate prize, the story is a soapy slog of sabotage and betrayal. Sex and drugs are as prevalent as pliés, the absence of a likable character as irksome as the constant conniving.
  27. Dear Evan Hansen
    Treacly and manipulative, Dear Evan Hansen turns villain into victim and grief into an exploitable vulnerability. It made me cringe.
  28. Intrusion
    It’s an exercise in watching someone have the world’s slowest revelation.
  29. The Village Detective: a song cycle
    Morrison, who is the producer, director and editor of this strangely intoxicating film, is a cinematic investigator of the first stripe.
  30. The Starling
    Blatant product placement, unconvincing bird effects and awful soundtrack selections all undermine a potentially wrenching, difficult premise with utter bogusness.
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