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. Da 5 Bloods
    In its anger, its humor and its exuberance — in the emotional richness of the central performances and of Terence Blanchard’s score — this is unmistakably a Spike Lee Joint. It’s also an argument with and through the history of film.
  2. Born in Evin
    Zaree makes an eloquent and arresting protagonist, though her documentary is a bit too tidy for its own good.
  3. You Don't Nomi
    If not revelatory, You Don’t Nomi is likely to persuade viewers that “Showgirls” is more than a “bare-butted bore,” as Janet Maslin wrote in The New York Times 25 years ago.
  4. Searching Eva
    The film illustrates that being self-baring is different from being self-revealing. It inspires a vexing but welcome question: What did I just watch?
    • 64 Metascore
    • 50 Critic Score
    Spelling the Dream
    Spelling the Dream is a film about winning, delivered with glossy visuals and a gratingly optimistic score that draws to a close with its champion showered in confetti — an obvious symbol for this overarching (and under-questioned) celebration of American multiculturalism.
  6. Dreamland
    Strange, challenging and boundlessly confident, this tripped-out noir from the Canadian filmmaker Bruce McDonald (best known for his 2009 horror movie, “Pontypool”) is part lucid dream, part drugged-out nightmare.
  7. Parkland Rising
    Parkland Rising passes the low bar of not undermining the people it covers, but by avoiding both research and conflict, it fails to provide a reason for its own existence.
  8. 2040
    Although the odds of implementing all these ideas might seem steep, “2040” is a rare climate documentary with an optimistic message.
  9. And We Go Green
    [A] cheery, lightweight documentary.
  10. Tommaso
    Tommaso has a different feel than your average variant on Fellini’s “8 ½.” Maybe it’s a sense of shame, something the older film’s Guido hadn’t much of. Whatever it is, it makes Tommaso crackle with ideas and empathy, as Ferrara’s best work always does.
  11. Feral
    As Feral — directed by Andrew Wonder from a script he wrote with Priscilla Kavanaugh and Jason Mendez — moves forward, it doesn’t always do a great job of splitting the difference between a raw depiction of harsh reality and ostentatious deck-stacking.
  12. Yourself and Yours
    Hong’s formal confidence yields a movie that’s very simply constructed and utterly engrossing.
  13. Judy & Punch
    What’s left is a baroque pantomime, a heavy-handed satire of intolerance whose fun fades faster than the livid bruises on Judy’s face.
  14. Shirley
    Moss, brazen and witty and seeming to push herself to the very edge of control, is a galvanizing presence, convincingly wild even as she’s trapped in a hothouse of sometimes dubious ideas.
  15. The Vast of Night
    The actors add some filigree to their genre types, but are consistently upstaged by the superb, supple camerawork. With the cinematographer Miguel Ioann Littin Menz, Patterson turns the camera into an uneasily embodied presence and when it takes flight so does the movie.
  16. Phoenix, Oregon
    It’s all a bit uneventful, but it works as an endearing portrait of average life: sometimes up, sometimes down, but moving steadily along.
  17. Street Fighting Men
    What makes the movie compelling, then, are not so much the stories that ebb and rise from despair to hope, like the tides, but the portraits of the people living them.
  18. Circumstantial Pleasures
    No matter how distinct the elements — and how differently arranged — they are of a feverish, profoundly uneasy piece.
  19. Ursula von Rydingsvard: Into Her Own
    This documentary portrait of the formidable sculptor Ursula von Rydingsvard is, by dint of its brevity, more tantalizing than satiating. But it’s still a welcome cinematic account of her work.
  20. I Will Make You Mine
    The movie accumulates a rueful nostalgia. Soft black-and-white cinematography (by Bill Otto and Carl Nenzen Loven) and low-key humor help offset the limitations of its partly crowd-funded budget, as does the naturalism of the partly improvised performances
  21. On the Record
    Most of the accusations have been reported on extensively in the last two years in various publications. What the film does is bring these accounts to living, breathing and moving life, taking us beyond the media cycles of allegation and denial to a survivor’s intimate confrontations with cultural pressures and trauma.
  22. Papicha
    Marked by a fierce vitality and vivid emotional authenticity, Papicha thrives on the heat of Nedjma’s anger and the glorious bond among the mostly young female performers.
  23. The High Note
    The High Note is pleasant enough but disappointingly timid and thoroughly implausible.
  24. Stage: The Culinary Internship
    Cooking that makes diners uncomfortable hasn’t inspired comparable creativity of cinematic form. “Stage” makes you want to eat, not watch.
  25. I'm No Longer Here
    Frías de la Parra is thoughtful and precise in conveying the cultural identity of these young people, and their spirit pulses through the story.
  26. A Towering Task: The Story of the Peace Corps
    The documentary maintains an uncritical and even hagiographic view of the program’s stated premise, barely interrogating its ethics or on-the-ground efficacy.
  27. Survive the Night
    It’s possible to imagine a tight, suspenseful version of this home invasion chestnut, but Survive the Night is paced to run out the clock.
  28. Villain
    The result is an exceedingly well-made first feature, a simple genre movie elevated by strong visuals, potent performances and a mood that falls somewhere between resignation and guttering hope.
  29. Lucky Grandma
    The director Sasie Sealy’s feature debut has style and keenly observed visual humor. Each scene is paced as perfectly as a punchline.
  30. Diana Kennedy: Nothing Fancy
    More curious and combative than the movie around her, Kennedy is as much anthropologist as chef, her deep love for her adopted country palpable.
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