The New York Times' Scores

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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
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  1. It's Never Over, Jeff Buckley
    Most artist documentaries attempt but rarely get to a true and palpable essence of their subjects, but it’s this sense of his earnestly tender nature, pieced together from loved ones and old archive interviews of Buckley, that leaves an impression.
  2. An Officer and a Spy
    An Officer and a Spy is well-crafted; Polanski’s movies generally are. Its contribution to cinema’s role in historical storytelling, though, seems largely as an allegory about Polanski.
  3. My Mother's Wedding
    We’re wondering why these accomplished women could be so uniformly stunted by their delusions of paternal grandeur — which could maybe make for a funny setup. In this overly mannered, weirdly flat dramedy, it’s not.
  4. Boys Go to Jupiter
    Here is a movie notably unafraid to manifest the weirdest of the weird, no matter what the Mr. Moolahs of the world have to say.
  5. Ebony & Ivory
    Ebony & Ivory, in its unrelenting aggression, is particularly exhausting, though I suppose you have to admire the integrity of its vision. Irritating as Hosking’s humor is, you can’t deny his commitment to the bit.
  6. Strange Harvest
    The film is naturalistic enough to be convincing and sick enough to be disturbing, even if the acting falls scattershot on the persuasiveness scale.
  7. Sketch
    A children’s film that fares better with its nimble special effects than its clunky dramatics.
  8. Freakier Friday
    By the middle of the film, the narrative also begins to stutter, set piece after set piece, caper after caper, loping toward the inevitable moment of collision and resolution, without always maintaining the narrative tension to keep things interesting. Since we know where this is going, these bits need to be really funny, not just broadly perfunctory jokes about how generations don’t understand each other.
  9. The Pickup
    Even as they find themselves running out of things to do, each actor hangs on to his or her charisma and manages to land a line every now and then.
  10. Kerouac's Road: The Beat of a Nation.
    The film does not fully succeed, though that’s a tall order for anyone. Too many things need wrapping up by the end, so the concluding rhythm drags. There’s just too much to say, and that always leads to saying less than you might want.
  11. My Oxford Year
    Their relationship plays out mostly to set up the film’s second half, but even when things get juicier, Mylchreest and Carson can’t seem to find much chemistry through the flat writing and direction.
  12. The Bad Guys 2
    The directors Pierre Perifel and JP Sans put the narrative across with a blithe bounciness, and the all-star voice actors play along nicely.
  13. Harvest
    Harvest, which takes place over one week’s time, is gorgeous and strange and a bit winding, though not unpleasantly so.
  14. Together
    It’s clever in concept and kind of silly in execution, which wouldn’t be a bad thing if it knew how to commit to its goofiness.
  15. Architecton
    Architecton is as gorgeous as it is grave. The score (by Evgueni Galperine) and sound design (by Aleksandr Dudarev) contribute mightily to the film’s heavy lifting.
  16. Souleymane's Story
    Boris Lojkine’s Souleymane’s Story, an affecting film about struggle set over two days in Paris, is the rare character study that does not only build empathy with its hero’s pain but channels its sensation.
  17. The Naked Gun
    Taken individually, a lot of the jokes might not work, but when you’re in a blizzard you don’t notice each snowflake.
  18. Happy Gilmore 2
    The early and largely easy fun begins to curdle into inanity that simply drags (there is, oddly enough, way too much actual golf in this movie), before devolving into an overextended fever dream of celebrity cameos.
  19. 2000 Meters to Andriivka
    “2000 Meters” is bruisingly intimate nonfiction.
  20. Sunday Best: The Untold Story of Ed Sullivan
    A music journalist-turned-filmmaker, Jenkins had the hip-hop bona fides to guarantee “Sunday Best” would not be a white savior tale. Instead, his film reveals the authentic amity and steadfast values of an ally.
  21. Il Dono
    Il Dono manages to strike a balance between damnation and idolatry of its medieval setting. We’re sucked in, enraptured, even as we feel its lives fading away.
  22. Shoshana
    This isn’t so much a film about geopolitics or even history as it is about two lovers torn between passion and obligation.
  23. Diciannove
    If the dearth of character development is a gag, Diciannove doesn’t offer much of a punchline. But Tortorici’s filmmaking is stylish enough to make even the slipperiest sequences pop.
  24. The Home
    It seesaws between creepy and dippy, although it pulls no punches in its indictment of the American elder care system.
  25. Oh, Hi!
    To the degree it works — and it does, a lot of the time — it’s a testament to its performers, especially Gordon and, once she arrives on the scene, Viswanathan, both of whom bring an energy to the screen that always has a touch of mischief, like they could veer off into lunacy or ecstasy at any time.
  26. Folktales
    There is poetry as well as deep affection in their close-ups of people and dogs, and lessons for any age in the way students tumble off their sleds and get right back up.
  27. The Fantastic Four: First Steps
    To help us buy in, the film mostly relies on the polish of this retro universe and its premium cast (who turn in uneven performances, save for Moss-Bachrach), along with one’s faint familiarity with the iconography of the heroes, to do the legwork. But those pieces sometimes are sufficient to keep this a smooth-enough ride that can even be periodically thrilling.
  28. Shari & Lamb Chop
    Shari & Lamb Chop is a charming introduction to a remarkable artist and the characters she created, which have endured across generations because they reflect the playfulness at the heart of their creator.
  29. Finally Dawn
    Finally Dawn is at its most intriguing as Costanzo entrusts his curly haired, wide-eyed naïf to maneuver the looking glass of Italian versus Hollywood cinema. Hint: Italy comes off more soulful.
  30. Unicorns
    Hardy peels back the layers to reveal Luke’s sexual awakening so viscerally that it’s easier to overlook the film’s narrative shortcuts.
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