The New York Times' Scores

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For 20,268 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 4.3 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 20268
  2. Mixed: 8,427 out of 20268
  3. Negative: 2,464 out of 20268
20268 movie reviews
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  1. The Senior
    You can simply surrender yourself to the bland moral lessons of the movie, but even then, it’s hard not to feel like this was best left as a quirky human interest segment on a slow news day.
  2. Speak.
    The lens through which the movie views these kids is objective and balanced, but there’s an empathy at work that makes the viewer understand what each of the subjects is going through.
  3. The Summer Book
    Scanning the elder woman’s weathered visage and the grandchild’s open face as well as giving the island’s rocky, forested, mossy and watery environs their many close-ups, The Summer Book offers a loving portrait of budding and fading.
  4. Swiped
    James has a great capacity to pull fragility and strength together, and her performance is the movie’s backbone. The movie itself is both shakier and shallower.
  5. Demon Slayer -Kimetsu no Yaiba- The Movie: Infinity Castle
    It could take a lifetime, or at least the sustained attention of an aficionado, to untangle all the lore. But the themes — solidarity and self-interest, allegiance and betrayal, love and loathing — are easy to follow. For the casual fan, the chief reason to seek out “Infinity Castle” is for its visuals, which position passionately emotive characters over impressionistic backdrops.
  6. A Big Bold Beautiful Journey
    Instead of an auteur upgrading his sensibilities with a studio paycheck, “Beautiful Journey” mostly reads as a for-hire job doomed with jumbled writing.
  7. The Lost Bus
    Greengrass knows how to shoot and cut, but The Lost Bus is at once too high-minded and too exploitative to work. However skilled the cinematography and editing, there is no saving a movie predicated on looming death with badly written characters and such a frustratingly narrow point of view.
  8. Him
    For too long, we’re like players stuck in a dark stadium tunnel, retreading the same concepts and fending off opaque threats, when all we wanted was some action.
  9. Lost in the Jungle
    Lost in the Jungle can’t really explain how the children survived, or how, ultimately, they were rescued. Miracles and mysteries happen in the jungle. What the film does elucidate, in rich and tense storytelling, is that no headline story like this is ever as simple as it seems on the surface.
  10. The Wrong Paris
    While the movie’s production design has considerable mojo — the trappings of a “Bachelor”-style reality show are sharply drawn, and the swimming hole on Trey’s ranch is practically Edenic — the anodyne writing reins in whatever satire one might have expected.
  11. Men of War
    The film’s often frenetic editing tends to weaken this strong story. But this hopeless history does have the flair to deploy Depeche Mode’s “Never Let Me Down Again,” capturing the tragic absurdity to Goudreau’s ambition.
  12. Downton Abbey: The Grand Finale
    The director, Simon Curtis, deftly choreographs what feels like a series’ worth of brief interactions into a mostly satisfying whole.
  13. Happyend
    Sora deftly calibrates the angst of his young characters — and the collective edginess of a nation, while nodding to the joys of the teen genre.
  14. Dreams
    Coming-of-age works are about discovery, but Dreams reminds us that this process can be fluid and fanciful. Our fantasies shape who we are because they invite us to clear out the mist — and find firmer ground on the other side.
  15. The History of Sound
    The History of Sound doesn’t trust its own gentleness, and the inertia of the filmmaking gives the whole affair a detached, try-hard feeling.
  16. The Long Walk
    Lawrence’s commitment to authenticity may be laudable (he filmed almost the entire project on the move in Canada), but it’s clear that he was so busy honoring the book, he forgot to entertain the audience.
  17. The Man in My Basement
    Streamlined a little, it would have made for a rich text. But as it is, it’s too much to wade through.
  18. Rabbit Trap
    Rabbit Trap, the horror folk tale from Bryn Chainey, is that unfortunate kind of creation: a work that so clearly possesses the tools that might make a good, captivating film, but instead ends up lost in the workshop, too busy admiring its own handiwork.
  19. Spinal Tap II: The End Continues
    It’s almost always pleasant to hang out with old friends, particularly when no one overstays their welcome. The good news about “Spinal Tap II” is that everyone involved seems to have understood the assignment, which makes for a genial 83 minutes of soft jokes and jowls.
  20. A Savage Art: The Life & Cartoons of Pat Oliphant
    It’s a compelling history, one that’s especially vital in a time when irony and satire can be hard to pin down. Oliphant is the vehicle for the story, but there’s a bigger point here: that American politics, in particular, are built on a rich heritage of protest, of challenging authority, and that cartooning has been a part of that from the start.
  21. Riefenstahl
    Veiel’s documentary is a welcome addition to the historically grounded rebukes to Riefenstahl and her apologists, including bad feminists.
  22. The Baltimorons
    The Baltimorons aims for bittersweet rather than wacky. Didi is lonely; Cliff struggles with sobriety. And while the film has clear affection for its Baltimore locations (it’s dedicated to the workers killed when the Key Bridge collapsed in 2024), considerably less thought has gone into creating convincing situations for those backdrops.
  23. The Conjuring: Last Rites
    The film is a disappointing send-off; more an eccentric family drama than a real chiller.
  24. Preparation for the Next Life
    Preparation for the Next Life is all the more potent for choosing naturalism over melodrama and sensitivity over sentiment.
  25. The Cut
    Bloom plays his role with a feral commitment, and while Turturro has portrayed several villains in his career, here his refusal to ingratiate even slightly yields a genuinely frightening characterization.
  26. Twinless
    Despite its charms, and it is frequently charming, Twinless also succumbs to some of the issues that tend to plague movies of this type, the small and clever dark comedy about young people having big feelings.
  27. Tinā
    The earnest mood and regional touches of Tinā, a New Zealand movie that centers on a choir instructor who teaches her students to harmonize, distinguish it from others using the familiar formula.
  28. Sanatorium Under the Sign of the Hourglass
    It’s a film of sensations and mystery that feels like it’s wafting toward us from another century, like much of the Quays’ work, channeling uncanny realms of Central European puppetry.
  29. Motel Destino
    The payoff feels somewhat slight, but the foreplay — the will-they-or-won’t-they and the will-he-find-out — builds up with energy and flare. Maybe climaxes are overrated, anyway.
  30. The Roses
    I’m here to litigate “The Roses,” and on that front I’m quite confident that it’s a strangely boring failure, whoever’s at fault.
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