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. East of the Mountains
    In a star’s turn, Skerritt reveals the tiniest fissures of vulnerability in his unfaltering portrayal of a cardiologist who is ailing and grieving — and fed up with both.
  2. My Little Pony: A New Generation
    However generic (just this year, “Raya and the Last Dragon” depicted a similar treasure hunt geared toward bringing together diverse groups), the film’s messaging about unity and the need for a new generation to band together against misinformation and rabble rousing isn’t the worst thing.
  3. I'm Your Man
    Edging now and then into the surreal, this unusual and tender little movie gingerly interrogates the gulf between digital and biological wiring.
  4. El Planeta
    This is a dry comedy that elicits amused recognition rather than belly laughs, and Ulman, as a first-time feature director, makes canny decisions to set a wry tone.
  5. The Most Beautiful Boy in the World
    Andresen’s determination to rise above misfortune, and his hopes for himself, make this movie less than a total tragedy. But it’s an often shudder-inducing cautionary tale.
  6. Everybody's Talking About Jamie
    Jonathan Butterell’s film, now streaming on Amazon, is a charmer, every bit as sunny, confident and ultimately compelling as Jamie himself.
  7. In Balanchine's Classroom
    There is a beautiful act of translation that this documentary observes, as Balanchine’s former students — now wizened teachers themselves — attempt to render his movements into speech.
  8. Los Últimos Frikis
    The film’s enduring hook is the spectacle of a self-proclaimed revolutionary government that can’t abide the rebellion of rock without bureaucratic oversight.
  9. Saint-Narcisse
    For the most part, LaBruce tries to maintain fidelity to the idea that camp is best performed straight. If keeping up the pretense of unwinking entertainment causes the pace to drag at times, at least this movie never fails to follow through on its scandalous promise.
  10. I Am Not Alone
    The talking heads, who discuss events in the past tense, sap the protest material’s momentum, and a score by Serj Tankian (who appears as a commentator) is unnecessarily manipulative.
  11. The Eyes of Tammy Faye
    The Bakkers were many things to many people: appalling, inspiring, laughable, sad. This movie succeeds in making them dull.
  12. The Nowhere Inn
    Formally lively, The Nowhere Inn is a true meta exercise in the sense that the more derivative and self-conscious its conceptual gambits seem (stick around: The reflexivity continues after the end credits), the more it proves its ostensible point.
  13. The Mad Women's Ball
    Laurent has made an elegant if overheated melodrama that amplifies the villainy of Charcot and his colleagues (one proves particularly appalling) to underscore how male-centered the medical establishment was — and is.
  14. Blue Bayou
    Beautifully relaxed family scenes help us forgive the ponderous direction.
  15. Wife of a Spy
    Wife of a Spy is something like linear narrative perfection, with every scene perfectly calibrated.
  16. Prisoners of the Ghostland
    Sono’s visuals, sizzlingly realized by the cinematographer Sohei Tanikawa, lack neither brio nor imagination. But the ludicrousness of the plot severs any emotional connection to a story whose apocalyptic stylings (the Ghostland of the title is a nuclear wasteland) gesture toward Japan and America’s painful history.
  17. Cry Macho
    This one is something different — a deep cut for the die-hards, a hangout movie with nothing much to prove and just enough to say, with a pleasing score (by Mark Mancina) and some lovely desert scenery (shot by Ben Davis). If the old man’s driving, my advice is to get in and enjoy the ride.
  18. Little Girl
    [A] disarmingly sensitive documentary.
  19. My Name Is Pauli Murray
    Indeed, Murray’s story is a remarkable — and extensive — one that the filmmakers stuff into an hour and a half that feels like a dull and disorganized PowerPoint lecture.
  20. Nightbooks
    Its devotion to frights makes it memorable.
  21. Azor
    Written and directed by Andreas Fontana, making a formally precise, tonally perfect feature debut, Azor is a low-key shocker.
  22. Malignant
    None of this is especially scary, but, if you’re patient, Wan delivers the kind of hilariously sick climax that only a sadist would spoil. Or envisage.
  23. Come from Away
    This amiable production’s temperature never rises above lukewarm: good sentiments are, unfortunately, difficult to dramatize, an issue compounded by a score that can feel like aural wallpaper.
  24. Fauci
    Fauci is at its best when it draws parallels between the pandemics that define Dr. Fauci’s career. It vexes when it leans on straightforward biography
  25. The Card Counter
    The solitary man returns in The Card Counter, a haunting, moving story of spirit and flesh, sin and redemption, love and death about another lonely soul, William Tell, who, with pen to paper, grapples with his present and his unspeakable past.
  26. No Responders Left Behind
    While pragmatic in bent, the documentary repeatedly underlines the toxic manner in which this country treats many who have sacrificed body and mind in service to others.
  27. Fire Music
    This concise but cogent documentary directed by Tom Surgal is crammed with exhilarating sounds, moving reminiscences and stimulating arguments that it is not just music, but vital music.
  28. Language Lessons
    The twists in the story are meant to raise the emotional stakes, but they have the opposite effect, undermining the credibility of the premise. The harder the movie leans into its own cleverness, the more it exposes itself as a diverting but ultimately unconvincing exercise.
  29. Dogs
    One can imagine how the particularities of the Romanian bush might yield novel dynamics. Instead, Dogs underplays these elements and commits to the beats of the slow burn thriller in mostly generic form.
  30. Queenpins
    Queenpins might have been a snappy little comedy had it lost 20 minutes and found a point beyond glorifying grand larceny. Erasing the lead character’s smug-perky narration wouldn’t have hurt, either.
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