The New York Times' Scores

Select another publication »
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
view
per page
  1. Griffin in Summer
    A winking ode to queer youth who still dream — too fiercely, too soon — amid self-discovery and family disruption, Griffin in Summer gives aching shape to a child’s need for order in a world that defies their understanding.
  2. The Toxic Avenger
    The outrageous violence, a core allure of the original, remains, but the gross-out is situated in a more colorfully pulpy universe and has a more smartly self-conscious touch to its comedy.
  3. Stranger Eyes
    Always intriguing, Stranger Eyes proves stronger on concept than coherence. Perhaps the loose ends are Yeo’s way of suggesting that a film director, too, lacks omniscience.
  4. Love, Brooklyn
    It has its moments — Nicole and Roger on the steps of her brownstone, for one. And it’s awfully lovely to look at (cinematography by Martim Vian). But, like its characters, it’s a little too comfortable with being betwixt and between.
  5. Vice Is Broke
    Huang has made an eye-opening capsule history that will resonate most keenly with Vice fans. But there’s something more widely instructive, too, in his portrait of a culture clash that turned into an unlikely courtship: ragtag punks and the investment bankers eager to hit the “millennial sweet spot.”
  6. A Little Prayer
    This is a filmmaker able to wrest real feeling from his actors, and from his audience.
  7. The Thursday Murder Club
    Aiding their investigations is an underappreciated policewoman appealingly played by Naomi Ackie. The proceedings are marshaled with affection by the director Chris Columbus.
  8. Caught Stealing
    For whatever reason here, Aronofsky always remains at a frustrating remove from Hank, which flattens the emotional and psychological stakes that Butler works so hard to raise.
  9. Sudan, Remember Us
    Meddeb keeps her focus on several young Sudanese activists. It’s a wise choice, creating an intimate portrait of their dreams and fears.
  10. Eenie Meanie
    While an early, silly death . . . suggests an exuberant self-awareness a la Quentin Tarantino, other scenes, like those that position Edie and John as star-crossed lovers, indicate that this movie’s melodrama takes itself deadly seriously. But it’s hard for the audience to do so in a story that asks us to not merely suspend disbelief, but slaughter it.
  11. The Map That Leads to You
    Ultimately, the romance’s sentimental plotting needs more of Heather’s grounded logic and far less of Jack’s greeting card sayings. She’s much too sensible to lose herself so quickly to his brand of bland.
  12. Eden
    It’s a little surprising that these proceedings are led by the director Ron Howard, since this subject matter is more perverse than anything he has set his sights on before. The actors are up to the task, however.
  13. Lurker
    It takes its time at first, but once it really gets going, Lurker is snaky and disconcerting and smart.
  14. Ne Zha 2
    The writer-director Jiao Zi uses equally expansive storytelling and visuals to deliver an epic, fantastical hero story about power hierarchies and the fall of institutions.
  15. Splitsville
    Covino and Marvin continue to forge a distinct comic sensibility — and, what’s rarer these days, they know how to make the camera work for the humor. Their knack for sight gags and staging in depth would shame the makers of the recent “Naked
  16. Relay
    Relay, a slick, sneaky thriller that’s elevated by both the actor and the director, David Mackenzie, makes it clear that Ahmed also has a silent-era performer’s gift for feverish stillness.
  17. Pools
    Rather than being its own entry into the genre, Pools instead is a green director’s hodgepodge emulation of ideas and tricks we’ve seen elsewhere.
  18. Honey Don't!
    Cooke and Coen’s winding narrative feels muted and underdeveloped, making the film’s offscreen deaths and treacherous reveals feel less like cosmic twists of fate than speed bumps that yield small chuckles and sighs.
  19. Songs from the Hole
    Gayles has crafted a film that refuses to tidy the conflicted feelings its subjects share — or those feelings it stirs in us.
  20. The Knife
    With its twists and rug-pulls, The Knife makes for an absorbing drama, but it’s also deeply exasperating in that it feels less like a social commentary grounded in reality than an edgy play on emotions.
  21. My Undesirable Friends: Part I - Last Air in Moscow
    I’m trying to avoid hyperbole, but I don’t know how else to say this: It is perhaps the most essential investment of time you can make in a movie theater this year. And yet it is not just “important” or consequential — it is brilliant, riveting, vital, devastating.
  22. Checkpoint Zoo
    Checkpoint Zoo portrays a caged and dependent menagerie that bewilderingly experienced humans at their worst and, fortunately, their best.
  23. East of Wall
    Narrative beats aren’t what make East of Wall worth watching. That would be the people — particularly Porshia and her jubilant pals, whose skills in the saddle leave a lasting impression.
  24. Nobody 2
    Like many sequels, this one ramps up everything, including the body count. The fight sequences here are well-staged, shot and cut, more elaborate than in the earlier movie and at times gleefully grisly, with skewered and barbecued flesh.
  25. Suspended Time
    The most appealing character in Suspended Time is Assayas, a hovering offscreen presence who delivers the confessional, gracefully digressive narration.
  26. Highest 2 Lowest
    Washington’s most successfully sustained sparring partner is Jeffrey Wright, who plays Paul, the family’s chauffeur. He comes into focus through his beliefs, his attire and salient details (including a banner for the Five Percenters, an offshoot of the Nation of Islam), though primarily through Wright’s discreet, moving performance.
  27. Americana
    Compared with “Eddington,” this summer’s other tongue-in-cheek neo-western, the movie, ostensibly set in South Dakota, is less aggressive in its efforts to appear topical; it may not even have much on its mind beyond clever plot construction. But watching its pieces snap into place is more fun.
  28. Night Always Comes
    The movie resolves into a relatively deft combination of message picture and suspense thriller.
  29. Fixed
    The film can’t quite fill in much beyond its initial wacky conceit, lacking the extra narrative and comedic pieces to match, for better or worse, a counterpart like “Sausage Party,” Seth Rogen’s own bawdy animation entry.
  30. Weapons
    Weapons may not be about anything much other than Cregger’s talent, but the guy knows how to slither under your skin — and stay there.
Page:

Top Trailers

See all »
See all trailers »