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. Inheritance
    This movie aspires to generate the kind of rich-people-you-love-to-hate juice of cable TV series such as “Billions” and “Succession.” Ultimately, Inheritance doesn’t even get to the level of “Dynasty.”
  2. Joan of Arc
    Here and in the earlier picture it’s perhaps easy to apprehend Dumont’s approach with a “What’s this oddball up to now?” smirk. But if Dumont is joking at all, it’s a form of what used to be called “kidding on the square.”
  3. The Painter and the Thief
    The film resonates most deeply during its raw, vulnerable scenes.
  4. The Lovebirds
    Rae and Nanjiani do their best, but neither the dialogue nor the direction serves their talents adequately.
  5. Military Wives
    The title Military Wives is plain to the point of blandness. This good-hearted comedy-drama, starring Kristin Scott Thomas and Sharon Horgan, deserves a little better.
  6. The Trip to Greece
    The “Trip” movies have always been self-aware about their own weightlessness, wringing laughs by needling the men and their vanity. That’s as smart as it is convenient; this time, though, it also feels like a cop-out.
  7. Body Cam
    Despite the ripeness and flammability of its material, the movie feels oddly distant, the screenplay marred by weak scares, graceless plotting and dashed-off characters.
    • 85 Metascore
    • 70 Critic Score
    Wake in Fright (1971)
    Since Outback is a film I mostly admire, I had better allow that it is not without flaws. But they are flaws—in plotting, in Kotcheff's penchant for using five camera positions at a time where one might do—that may be, not overlooked, but safely admitted in a work that really does move from its strengths rather than its weaknesses.
  9. Scoob!
    The overall vibe is scarily close to what happened when “The Itchy & Scratchy Show” on “The Simpsons” added Poochie, except this time the pandering is not a joke.
  10. The Wolf House
    The film surprises, with incredible force, in every one of its 75 minutes.
  11. Graves Without a Name
    The accretion of detail — narrative, visual and verbal — gives the movie an unusual density. The depiction of human cruelty is appalling, but the way “Graves” makes the viewer feel the necessity of its filmmaker’s calling is profoundly moving.
  12. Castle in the Ground
    We’ve seen it before: Faces, substances and locations may change, but the self-destructive behavior and dreary vibe are pretty much constants.
  13. Blood and Money
    As derivative as its title and as implacable as its declining hero, Blood and Money suffers from near-calamitous narrative lapses.
  14. Alice
    Alice (rightfully) regards the choices of its heroine with respect and empathy. But its picture of sex work as an easy out, devoid of any real danger, feels like a simplistic fantasy.
  15. Fourteen
    What begins as a movie with two protagonists almost imperceptibly evolves into a movie with just one — a touching demonstration of how narratives that seem inevitably intertwined can unravel.
  16. The Wrong Missy
    Though the gags are retrograde groaners, Lapkus embarrasses herself with confidence. Her full-throttle verve transcends the script like a water skier leaping over a Great White.
  17. Capone
    The fantasy sequences are duller than the campy images from the present action.
  18. Have a Good Trip: Adventures in Psychedelics
    With no real thesis or through-line, the movie winds up being little more than a series of revue-style blackout sketches, lengthy digressions and dead ends.
  19. Mossville: When Great Trees Fall
    The sub-90-minute run time isn’t an emblem of concision; the movie simply ends too soon.
  20. Intrigo: Samaria
    Fox is riveting as a stubborn go-getter who often employs morally questionable methods for the sake of truth and art. But her screen presence isn’t enough to fill out this lean thriller, which hits so many cliché beats along the way.
  21. Intrigo: Dear Agnes
    The film traces the falling out that led to the women’s current iciness. Their own connections, revealed bit by bit, make their plan even more ludicrous.
  22. Working Man
    An unconventional labor story, the movie doesn’t bask in the triumph of rebellion; instead, it’s an introspective portrait of men for whom working is a replacement for living.
  23. Rewind
    For the director, putting family members on camera clearly had a therapeutic value. Witnessing that unburdening feels almost ancillary, even intrusive. But Rewind could only be made by this filmmaker in this way, and that gives it an unsettling fascination.
  24. A Good Woman Is Hard to Find
    While the movie barrels toward a final act that’s more feminist fantasy than credible conclusion, Bolger’s phenomenal performance locks us tightly on Sarah’s side.
  25. Clementine
    Although the camera’s attention to faces and gazes, coupled with an eerie soundtrack, conjures a vague mood of suspense and seduction, the plot fizzles out quickly without any real provocations.
  26. Spaceship Earth
    Like the project itself, Spaceship Earth winds up caught in the gulf between rigor and showmanship. As entertaining as it can be, it is also disappointingly deferential to its subjects — the work of a filmmaker in thrall to characters who have welcomed him inside the bubble.
  27. How to Build a Girl
    Like a stone skipping on water, How to Build a Girl leaps from raunchy to charming, vulgar to sweet, earthy to airy-fairy without allowing any one to settle. Yet it’s so wonderfully funny and deeply embedded in class-consciousness . . . that it’s tonal incontinence is easily forgiven.
  28. Driveways
    Slow and sweet and unassuming, Driveways, the second feature from the Korean-American director Andrew Ahn, tackles major themes in a minor key.
  29. Arkansas
    Less a mob thriller than a ruminative drama about a life built around orders and betrayals, the movie takes an unusual perspective on a familiar genre but is weighed down by its dull, uneven pace.
  30. South Mountain
    Balsam is marvelous throughout, precisely measured in portraying a state often teetering on abjection. Balsam’s Lila can turn from luminescent to hangdog in a flash. The character’s inner worlds register with exceptional vividness.
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