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. Honest Thief
    It’s an inoffensive movie, full of such familiar tropes, it hardly matters if you can keep your eyes open to the end.
  2. Martin Eden
    The true miracle of this film is how Marcello translates both London’s scabrous tone and his lush, character-revealing prose into pure cinema. Lines have been plucked from the novel, yet even at its wordiest, the film is never weighed down by the burden of faithfulness.
  3. David Byrne’s American Utopia
    Some filmed stage shows die on the screen from a sheer lack of visual energy and invention. Lee, a master of the art, uses cinema’s plasticity to complement this production, making it come alive in two dimensions.
  4. Blackpink: Light Up the Sky
    While its salute to the artists flicks at the cynical side of their industry, it is less a probing profile than a backstage pass for fans of the band (a.k.a. Blinks) old and new.
  5. Evil Eye
    Choudhury is excellent here as a fraught matriarch — as good as she was as a young rebel three decades back. And Maskati’s performance is a slippery mix of suave and menacing, which helps sell the farthest-fetched elements of this story.
  6. Nocturne
    Contrivances are par for the course in this genre, but Nocturne lacks the stylistic flair to make them fun.
  7. Totally Under Control
    It elevates voices who sounded early alarms about the virus and whose warnings were lost in a din of complacency, incompetence and political calculation. Not all of these interviewees or their messages have broken through to the public consciousness.
  8. The War with Grandpa
    De Niro is game throughout, and sometimes amusing in that way he can be. But Walken is the funniest performer here.
  9. Hubie Halloween
    Occasionally, the nostalgic back-patting makes way for a few good jokes.
  10. The Forty-Year-Old Version
    It revels in the pleasure and struggle of creative work. This comes through in the rambunctiousness of Radha’s students, in her belated appreciation of her mother’s paintings, in shots of street murals and sonic scraps of freestyle rhyming — in pretty much every frame of a film that, like its heroine, is grumpy, tender, wistful, funny and combative. Also beautiful.
  11. Faith Based
    Pity, or prayer, couldn’t change the fact that Faith Ba$ed is abysmally unfunny.
  12. Aggie
    However great Gund’s influence on other collectors and philanthropists has been, and however progressive and righteous her advocacy for racial justice, Aggie doesn’t match her originality with an accordingly innovative approach.
  13. Books of Blood
    It’s a mess — and I’m not just talking about the close-up of a bleeding, ghost-gratified fingernail.
  14. Yellow Rose
    Above all, the music has the greatest staying power — it is the film’s saving grace, just like it is Rose’s during her darkest days.
  15. Charm City Kings
    The dirt bikes and their exuberant operators are the saving grace — and joy — of the sincere if overstuffed drama Charm City Kings.
  16. Time
    Substantive and stunning, the documentary Time delivers on the title’s promise of the monumental as well as the personal.
  17. Siempre, Luis
    The HBO documentary Siempre, Luis wants to be about a political lion of a father, but it ends up more enamored with his charmed son.
  18. American Pie Presents: Girls' Rules
    The original “American Pie” was tasteless; this version is flavorless.
  19. David Attenborough: A Life on Our Planet
    The film’s grand achievement is that it positions its subject as a mediator between humans and the natural world. Life cycles on, and if we make the right choices, ruin can become regrowth.
  20. Black Box
    It also brings some devilish ingenuity to its variations on “Memento” and other “who am I?” thrillers. And it adds to that something more rare: a genuine emotional potency.
  21. The Lie
    This is a whiffed effort at an all too familiar subgenre: the ostensibly dark, searing human drama undercut by the fact that all the humans in it are boorish idiots.
  22. On the Rocks
    In the past, Coppola’s embrace of ambiguity could feel like a dodge, a way of evading meaning. But in On the Rocks, a wistful and lovely story about finally coming of age, there’s nothing ambiguous about how she makes us see a woman too long lost in life’s shadow.
  23. The Great American Lie
    The documentary fares better when it cuts the interviews and simply follows working class people in their daily lives.
  24. 12 Hour Shift
    It’s hard to argue with Bettis’s frazzled underplaying or Farnworth’s stellar airhead routine, an impressively sustained study in quick-witted dimwittedness.
  25. Eternal Beauty
    For the first half-hour or so of Eternal Beauty, Roberts and Hawkins take an unusual and intermittently illuminating approach to depicting mental illness. . . . But the movie doesn’t keep up its good work.
  26. A Call to Spy
    One wishes the movie had been imagined as a limited series, which would give viewers an opportunity to spend more time with these women whose lives were so clearly rich and textured — not to mention, courageous.
  27. Possessor Uncut
    Possessor is a shocking work that moves from disquieting to stressful with ruthless dispatch.
  28. Save Yourselves!
    The quirky Save Yourselves! is not necessarily a genre reinventor but a good example of how much fun you can have on a non-studio budget.
  29. Dick Johnson Is Dead
    Pitched artfully between the celebratory and the elegiac, it is an inarguably serious documentary with light, surrealistic flourishes that, at times, veer into exuberant goofiness.
  30. The Boys in the Band
    The ensemble is superb, and each member has at least one standout moment, but the movie rides on the shoulders of Parsons, as Michael, the host of the party.
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