The New York Times' Scores

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For 20,278 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: 9,380 out of 20278
  2. Mixed: 8,434 out of 20278
  3. Negative: 2,464 out of 20278
20278 movie reviews
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  1. The Truffle Hunters
    A charming and slyly poignant documentary.
  2. Raya and the Last Dragon
    The unity rhetoric feels awfully trite, but it also teaches forgiveness: a worthy lesson for the kids.
  3. Moxie
    Unfocused and too often unbelievable, Amy Poehler’s Moxie feels like a battle between two competing visions: go-girl crowd-pleaser and serious high-school harassment drama. Neither wins.
  4. Biggie: I Got a Story to Tell
    Maybe half of the film is about his music career, and of that, not much at all is devoted to his commercial prime. This makes the film anti-mythological, but also far more robust.
  5. Tom & Jerry
    The de rigueur slapstick scenes for the title characters don’t even play, as the integration of animation and live action is so clunky that it feels like we’re watching special effects demonstrations rather than gags.
  6. Billie Eilish: The World's a Little Blurry
    “Blurry” isn’t triumphant, strictly speaking. Instead, it relies on the accretive power of the mundane. It moves forward without narration, and sometimes without narrative rhythm — often it feels almost observational, like a nature film.
  7. Un Film Dramatique
    It’s the cumulative effect of seeing the world through the eyes of these children that makes this movie so deeply joyful. This is a heartening project, a philosophical excavation of a school that abounds with playful optimism.
  8. My Darling Supermarket
    Better late than never, the film’s spiritual thrust becomes clear by the third act. The stark symmetry of the shelved merchandise and the eerily dissonant score assumes an otherworldly, ritualistic power when our subjects begin musing on faith and the nature of existence.
  9. Crisis
    The film is well-paced but often strains credulity.
  10. The Vigil
    Keith Thomas’s slim but effective The Vigil milks terror from a minimalistic setup, relying on the shapes we make out with squinted eyes in the shadows.
  11. The United States vs. Billie Holiday
    Like nearly everything else in this feverish, frustrating movie, the political themes are handled with maximal melodrama and minimal clarity.
  12. The Father
    At once stupendously effective and profoundly upsetting, The Father might be the first movie about dementia to give me actual chills.
  13. 'Til Kingdom Come
    Zinshtein’s patient, observant approach catches her subjects in moments of damning irony.
  14. Cherry
    Whether they’re comfortable owning up to it or not, the Russos are better moviemakers than their Marvel movies (the most recent of which was the gargantuan hit “Avengers: Endgame”) allow them to be. They demonstrate that here. Holland, also a veteran of the superhero mode of cinema (he’s Spider-Man these days) shows performing chops that web-slinging doesn’t often let him flex.
  15. My Zoe
    An unusually compelling domestic drama with sharp ears, a sharp eye, and up to a point, sharp teeth.
  16. Pelé
    I did yearn to see more of his talents in action; his header goal in that year’s Italy final feels cosmically liberating. But however conventional as a whole, the movie feels troubled by the traumas of Pelé’s heyday.
  17. Shook
    Shook is done in by its final reveal, which manages to be simultaneously improbable and conventional. For engagement, we’ll have to look somewhere else.
  18. Mafia Inc
    For better or worse, Grou has a knack for staging brutality, and for having his movie rock out to a Joy Division track or two.
  19. Test Pattern
    Test Pattern achieves a lot with very little: The film’s nonlinear editing and cannily scored silences invite our interpretations, locating in them the entanglements of race and gender. Ford pushes us, if not to definitive answers, then to the right questions.
  20. Days of the Bagnold Summer
    Amiably anecdotal, the movie gets wry results from Dolan and other players, including Rob Brydon as a would-be ladies man and Tamsin Greig as a “hipper” mom than Sue.
  21. Flora & Ulysses
    Flora & Ulysses veers close to falling into the trap of cheesiness that kids’ movies of this genre often find themselves in, but miraculously never does. In fact, this hopeful comedy, in showing how a twitchy-tailed hero can change a family, lifts off and flies.
  22. I Care a Lot
    An unexpectedly gripping thriller that seesaws between comedy and horror, I Care a Lot is cleverly written (by the director, J Blakeson) and wonderfully cast.
  23. Nomadland
    Nomadland is patient, compassionate and open, motivated by an impulse to wander and observe rather than to judge or explain.
  24. Blithe Spirit
    Surplus buffoonery and a new ending add nothing to the original, leaving us with a movie that obsesses over death while showing all too few signs of life.
  25. Silk Road
    In many respects, Silk Road is an excellent examination of why you should probably never date, or maybe even socialize with, a libertarian. It comes up short in almost every other way, though.
  26. Sin
    An austere, demanding sit, Sin — a Russian-Italian coproduction with Italian dialogue — nevertheless has a stubborn integrity in exploring the competing forces of patronage and creative inspiration that Michelangelo confronted in the 16th century.
  27. The Violent Heart
    Some of these central relationships are inappropriate, even dangerous, but the subtlety of Sanga’s filmmaking allows for big twists to come as a genuine surprise. It makes for a successful manipulation of his audience’s expectations, even if the overall effect is a movie that feels slightly detached.
  28. Little Big Women
    A gentle panning camera and a bland score milk every scene for emotion, and at more than two hours, the women’s journeys drag. By the time it is over, Little Big Women has lost any sense of restorative power — all that registers is tedium.
  29. Twilight's Kiss
    Handsomely shot but humble in approach, the film can often feel purposeful, laying down groundwork that other stories of queer experience might take for granted. But Tai Bo’s pragmatic momentum as Pak has a way of restoring a succinctness to the movie, which avoids minimizing or exploiting the pains of concealment.
  30. Minari
    Minari is modest, specific and thrifty, like the lives it surveys. There’s nothing small about it, though, because it operates at the true scale of life.
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