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. The Old Guard
    I’m not usually someone to hope for sequels, but I guess if you live long enough …
  2. Bloody Nose, Empty Pockets
    Seen with or without foreknowledge of its methods, Bloody Nose, Empty Pockets is only fitfully engaging — suspect as documentary, insubstantial as fiction.
  3. The Tobacconist
    This is a pretty movie to be sure, with attractive cinematography, period costume and production design. But the film has no political or philosophical weight, and it is ultimately a movie that is as hard to take seriously as its somewhat dunderheaded protagonist.
  4. Ai Weiwei: Yours Truly
    Even for those familiar with Ai and his work, the film’s offerings of fascinating insights into his personal life and an exploration of the stakes of personal freedom make it a worthy viewing experience.
  5. Inmate #1: The Rise of Danny Trejo
    There are a lot of laughs in his Hollywood redemption story, which also reveals Trejo’s hard-won gentleness.
  6. The Beach House
    After a dillydallying slow start, Brown ratchets up the tension efficiently, summoning a mix of gross-out body invasion, eco-mutation and large-scale cosmic dread on a small budget.
  7. Mucho Mucho Amor
    The movie is generous about allowing Mercado to present his view of the world in his own words, but it’s a shame not to be able to see the world through his eyes.
  8. Greyhound
    While much of the movie was shot on an actual ship, there is a lot of C.G.I., and a good deal of it is not entirely convincing. “Greyhound” also feels like a movie that was conceived as an epic but could not quite muster the necessary force. As such, it’s ultimately one of Hanks’s most perfunctory pictures.
  9. Scheme Birds
    For all the impetuousness of its subjects, this is a film of remarkable respect and restraint — a documentary that carves shape into a messy reality.
  10. Bungalow (2002)
    Unspooling over the course of a few lazy summer days, the film offers an enigmatic examination of youthful alienation, its plot irresolute and unpredictable.
  11. The Truth
    The story gradually emerges through an accretion of details and personal dynamics, often in families that stand in for the larger world. Things happen quietly or offscreen. The drama is measured out in sips, in gazes, gestures, silences, off-handed humor and shocks of brutality.
  12. Four Kids and It
    Though the Psammead grants the children’s wishes . . . they come with a catch: a set up for an unimaginative moral lesson and nearly two hours of lukewarm familial bonding.
  13. Viena and the Fantomes
    The Mexican-born Naranjo, best known for the showy 2011 thriller “Miss Bala,” here depicts the toxic gender relations of young louts — culminating in assault, forced drugging, and general grossness and incoherence — with a stoic grimness that wants to look like resigned wisdom. It’s not.
  14. John Lewis: Good Trouble
    Although the film uses a conventional format, it makes an urgent argument: that a new wave of voter suppression has threatened the rights that Lewis labored to secure.
  15. Family Romance, LLC
    In many of Herzog’s nonfiction films, the director himself is a defining presence. One understands why he wanted to stay behind the camera and off the soundtrack here. This wrinkle in modern social life is best taken in without the mitigation of overt distancing.
  16. The Outpost
    The Outpost evolves from what initially feels like a collection of war-movie commonplaces, highlighting crude-talking soldiers in a bad situation, into something more complex and illuminating.
  17. Denise Ho: Becoming the Song
    The film does an excellent job of introducing the pop star to unfamiliar audiences, contextualizing her activism and, more broadly, examining the role art can play in shaping our beliefs.
  18. Welcome to Chechnya
    Welcome to Chechnya is a moving and vital indictment of mass persecution.
  19. Skyman
    Subdued and temperate, Skyman refuses to lean into the mystery of Carl’s claims or wind us up for a final resolution. Those elements might be present, but they’re never allowed to obscure what is essentially an empathetic, textured portrait of loneliness and loss.
  20. The Wages of Fear (1953)
    The excitement derives entirely from the awareness of nitroglycerine and the gingerly, breathless handling of it. You sit there waiting for the theatre to explode.
  21. Unsettled: Seeking Refuge in America
    More than the informational nuggets the movie flashes onscreen, these scenes of personal interaction help make “Unsettled” distinctive.
  22. Hamilton
    The close-ups and camera movements in this version enhance the charisma of the performers, adding a dimension of intimacy that compensates for the lost electricity of the live theatrical experience.
  23. Eurovision Song Contest: The Story of Fire Saga
    More tribute than parody, this over-egged farce whips slapstick and cheese into an authentic soufflé of tastelessness.
  24. Lost Bullet
    This impressively lean French thriller wastes nothing in its quest to deliver the goods.
    • The New York Times
      • Posted Jun 25, 2020
  25. A Regular Woman
    A film that feels exploitative, not enlightened.
  26. Irresistible
    It feels like an artifact from a particularly contentious past, a stale corn chip trampled into Party-convention carpeting.
  27. House of Hummingbird
    Kim works like a pointillist with lots of short scenes and daubs of textured nuance that build the portrait incrementally.
  28. The Last Tree
    The film feels at times like it is trying to take on too much — plotlines are rushed, relationships feel unearned or not explained. Still, I can’t help but be impressed by Amoo’s attempts to direct a familiar narrative with such a complicated set of questions.
  29. The 11th Green
    The measured tone with which the movie presents its ostensible revelations is more than half the fun; nothing that comes up is ever played as a twist; the aforementioned opening scene shows Munch’s hand deliberately.
  30. All I Can Say
    The movie will be most profitably consumed by fans — people who believe Hoon earned the tribute. While one does not want to be cruel, one is obliged to be frank.
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