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 Reunited States
    Topical in broad strokes yet frustratingly allergic to particulars
  2. Saint Maud
    Folding sexual arousal and religious ecstasy into a single, gasping sensation, Saint Maud, the feature debut of the director Rose Glass, burrows into the mind of a lonely young woman and finds psycho-horror gold.
  3. Finding 'Ohana
    A Gen Z crusade, hyper-aware of its Indiana Jonesian influences, is an entertaining conceit. But the plodding pace of Jude Weng’s film, along with its shabby dialogue, distracts from the more emotionally intricate subplot of the mother returning home to her father after her husband’s death.
  4. Supernova
    It’s rare to see a cinematic drama executed with such consistent care as Supernova, written and directed by Harry Macqueen and starring Colin Firth and Stanley Tucci. And here, that care pays off to devastating effect.
  5. The Night
    The repetition of the visions and the film’s deliberate pace gives the audience too much time to guess which betrayals haunt Babak and Neda, and this lack of emotional suspense hampers the horror.
  6. True Mothers
    Only a mountain couldn’t be moved by True Mothers — but like Asato’s parentage, the sources of that effect are complex. From one angle, True Mothers is sensitive and layered. From another, the tricks it plays with perspective constitute an all-too-calculated ploy for tears.
  7. Beginning
    Rarely has a film made me so painfully, viscerally aware of the impotence of spectatorship — of the dubious remove from which we watch suffering.
  8. The Dig
    To its credit, this consistently interesting and at times engrossing picture declines to strike any of its notes with a hammer. Trading on the great British art of understatement, it’s scrupulous, sober, and tasteful throughout.
  9. The Little Things
    Thanks to Hancock’s craft and the discipline of the actors, it’s more than watchable, but you are unlikely to be haunted, disturbed or even surprised. You haven’t exactly seen this before. It just feels that way.
  10. Penguin Bloom
    Gamely navigating a script that ushers her from seaside despair to hilltop elation, Watts gives a touching and blessedly understated performance, assisted by Sam Chiplin’s warmly expansive cinematography. As for the bundle of scene-stealing magpies (patiently trained by Paul Mander) who collectively bring Penguin to life, they’re a delight.
  11. Derek DelGaudio’s In & Of Itself
    In & Of Itself reframes familiar tropes like card tricks, vanishing objects and stupendous feats of mentalism to new ends. It is not often that a magic show makes you ponder not just the how, but the why.
  12. News of the World
    This isn’t a bad movie. The problem is that it’s too nice a movie, too careful and compromised, as if its makers didn’t trust the audience to handle the real news of the world.
  13. Spoor
    Spoor is sensationally atmospheric. . . . The structure, though, seems counterproductively, even confusingly, elliptical, and the timing of flashbacks muddles the point of view. This is a whodunit that plays tricks with the “who.”
  14. Atlantis
    Vasyanovych and his actors manage to make this parable both heartening and stupefying.
  15. The Human Factor
    The Human Factor presents a cogent and involving view of the Israeli-Palestinian peace efforts, mainly from 1991 until the end of Bill Clinton’s first term, told through the recollections of United States negotiators charged with brokering a peace.
  16. Notturno
    The past two decades of documentary film have produced many anatomies of history that attempt to summarize several millenniums, but Rosi’s borderless tableaus bring out another kind of truth in faces, places and pure feeling.
  17. You Will Die At Twenty
    Avoiding didactic conclusions or pat answers, Alala’s film questions blind belief but finds boundless enchantment in every frame.
  18. Preparations to be Together for an Unknown Period of Time
    A noirish psychodrama simmering with ambiguities, the film cleverly toys with our perception by loosening our heroine’s grip on reality.
  19. Our Friend
    This drippy drama presents precisely the kind of prettified portrait of death that Teague’s candid writing sought to rebut.
  20. The White Tiger
    The characters don’t quite come to life. They aren’t trapped by prescribed social roles so much as by the programmatic design of the narrative, which insists it is showing things as they really are. If it wasn’t so insistent, it might be more convincing.
  21. Identifying Features
    It’s a confident debut feature, and a sophisticated acknowledgment of the powerlessness that migrants face.
  22. No Man's Land
    Strangled by good intentions and teachable-moment clichés, Conor Allyn’s No Man’s Land turns the border between Texas and Mexico into a gateway to racial empathy.
  23. The Salt of Tears
    The Salt of Tears is quite a bit more than a cad’s progress. There are fleeting shadows of Flaubert in this tale, which Garrel crafted in collaboration with two venerable screenwriters, Jean-Claude Carrière and Arlette Langmann.
  24. Outside the Wire
    Grainy establishing shots of the skirmish offer little visual information other than its location on an expressway. Without viewers knowing where, and at whom, the soldiers are firing, the onscreen action is rendered indecipherable. Mackie’s quirky performance — Leo ends every order to Harp with an uncomfortable smile — is likewise baffling.
  25. Don't Tell a Soul
    A plot twist saves (that might not be the word for it) Don’t Tell a Soul from being absolutely oppressive, merely by injecting a scintilla of “what happens next” appeal — and letting the always-interesting Wilson stretch a bit.
  26. Acasă, My Home
    It’s both intimate and analytical, a sensitive portrait of real people undergoing enormous change and a meditation on what that change might mean. It taps into something primal in the human condition, a basic conflict between the desire for freedom and the tendency toward organization — an argument, finally, about the meaning of home.
  27. MLK/FBI
    The result is at once suspenseful, visually engrossing and intellectually bracing. It also raises urgent, sometimes uncomfortable questions about power, privacy and the ethical challenges of examining the past.
  28. American Skin
    Instead of lending immediacy, the padded-out documentary conceit only spotlights the stiltedness, and Parker falls short of building credible drama out of urgent issues.
  29. Bloody Hell
    It’s a buffet of only sour dishes, a rank fete of foulness.
  30. The Marksman
    Predictable to a fault, the movie coasts pleasurably on Neeson’s seasoned, sad-sweet charisma — an asset that’s been tragically imprisoned in mopey-loner roles and generic action thrillers.
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