The New York Times' Scores

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For 20,271 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: 9,377 out of 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
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  1. Infinite
    Infinite muddles around with some wishy-washy Eastern philosophy, and has mostly charmless actors (with the exception of Ejiofor, magnetic against the odds) duel and drive while mouthing exposition that lacks even a wisp of subtext.
  2. In the Heights
    It’s a piece of mainstream American entertainment in the best sense — an assertion of impatience and faith, a celebration of communal ties and individual gumption, a testimony to the power of art to turn struggles into the stuff of dreams.
  3. Awake
    There is no getting around it: Mark Raso’s Awake is bad. But at least it’s so bad that it’s often ludicrously laughable: Netflix may well have a cult turkey on its hands.
  4. Tove
    The soft-focus cinematography is beautiful but drippy, and this general tendency toward mushy melodramatics presents an unflattering contrast to the sharp-lined vivacity that Jansson brought to the page.
  5. Chasing Wonders
    In spite of its tidy running time, Chasing Wonders is diffuse and often limp.
  6. Edge of the World
    Edge of the World plugs its narrative gaps with corn and cliché.
  7. Grace and Grit
    An insufferable movie.
  8. Under the Stadium Lights
    Some sports movies build to inspirational speeches; Under the Stadium Lights treats platitudes as the main event.
  9. Slow Machine
    Difficult to describe and confounding to follow, the film is best when you submit to the surreal nature of it; then, you will be open to witnessing one of this year’s most mesmerizing movies unfold. Films of such lo-fi aesthetics rarely feel this major.
  10. City of Ali
    The nuances of Ali’s relationship with Louisville — where Ali faced discrimination as a Black American and controversy for his refusal to be drafted — tend to get lost in the celebration of civic pride.
  11. All Light, Everywhere
    In a manner that is patient — and sometimes even playful — rather than polemical, “All Light, Everywhere” contributes to debates about crime, policing, racism and accountability.
  12. Bad Tales
    The story is both overwrought and underdeveloped, with potentially important plot details insufficiently explained or left out altogether.
  13. The Conjuring: The Devil Made Me Do It
    “The Devil Made Me Do It” is an excellently spooky work of fiction. It would be even better if it privileged ghoulishness over gospel.
  14. Undine
    Undine is ultimately more enigmatic than most of Petzold’s work. It is also, like its title character, eerily beautiful. While it could well serve as a high-end date movie, it’s also something more.
  15. Spirit Untamed
    With its saucer-eyed, bobblehead-like characters, it’s a version barely distinguishable from the majority of animated children’s movies these days — more like Spirit domesticated.
  16. Changing the Game
    Changing the Game could have gone further, analyzing how fairness in sports is a myth to begin with. But the movie isn’t interested in rewriting the rules; it would rather introduce us to the brave young people who are.
  17. Port Authority
    Bloom is an alluring actress, especially when playing more subtle dramatic beats. While she’s unable to elevate a rote script, Bloom, and her character, understand how to catch the gaze of an audience in a way that the camera does not.
  18. Apocalypse '45
    Apocalypse ’45 knows that war is hell for everyone. But it’s difficult to escape the sense that, in this film’s view of history, America is top of mind.
  19. Five Years North
    There’s much to unpack here, from the preponderance of Latino agents in ICE to the mental health effects of immigration, evident in Luis’s panic attacks. But the film, frustratingly, stays on the surface, settling for easy emotional moments.
  20. The Mercy of the Jungle
    The film’s palpably-rendered environment, with stiflingly dense foliage and vivid natural soundscapes, heightens the dizzying nature of the war without resorting to titillation or idealized images that might glorify pain and suffering.
  21. Ahead of the Curve
    The film’s subjects are overwhelmingly earnest, but the movie suffers for its substitution of enterprise over entertainment.
  22. Dog Gone Trouble
    That the movie can be summed up in a silly, simple dog rap indicates there wasn’t much of a story here to begin with.
  23. American Traitor: The Trial of Axis Sally
    This is a plodding and ultimately infuriatingly noncommittal movie.
  24. Blue Miracle
    Gratingly sentimental and simplistic, Julio Quintana’s Blue Miracle, set in Cabo San Lucas in 2014, turns a potentially compelling underdog tale into a sermon. But if you’re in the mood to see Dennis Quaid learning and growing — and engaging in sappy conversations about fatherhood — then step right up.
  25. Plan B
    The movie doesn’t make a joke of Sunny and Lupe’s concerns about pregnancy, dating and parental expectations, and in turn, it’s a delight to laugh through their goofier exploits.
  26. Moby Doc
    What Moby leaves out of his account is as revealing as the tales of homelessness and addiction he puts in.
  27. Swimming Out Till the Sea Turns Blue
    The movie is an affecting group portrait and also a complex and subtle piece of literary criticism.
  28. A Quiet Place Part II
    Though in many respects an exemplary piece of filmmaking, “Part II” remains hobbled by a script that resolves two separate crises while leaving the movie itself in limbo. At least until Part III.
  29. Baggio: The Divine Ponytail
    It’s possible that Baggio: The Divine Ponytail will resonate with soccer fans. But the protagonist’s reputed greatness has not made it to the screen.
  30. Cruella
    This revisionist supervillain origin story, directed by Craig Gillespie (“I, Tonya”), doesn’t offer much that is genuinely new, but it nonetheless feels fresher than most recent Disney live-action efforts
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