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. Three Christs
    Whether it is the star power of the cast or the seductiveness of the period recreation, Three Christs has an appealing professionalism — an odd fit for a film about challenging a profession.
  2. Inherit the Viper
    As the movie heads for its quietly ghastly denouement, its plot mechanism gets a little wobbly, which is ultimately forgivable. It’s a genuinely tough picture, but it also has a real undercurrent of compassion.
  3. Afterward
    The resulting emotions are complex, and Bloch, here directing her first feature, can be excused for allowing a few of the scenes to stray. But by the end of the documentary, she and many of her subjects posit that it’s possible to learn from history and to change, and to trust each other a little more.
  4. Underwater
    It’s a challenge to keep action coherent and build suspense in the submerged environment simulated in “Underwater,” but Eubank doesn’t meet it, instead falling back on stale shocks that are not credibly buttressed by swelling bass effects on the soundtrack.
  5. The Grudge
    The remake remains cursed by a fatally hokey concept.
    • tbd Metascore
    • 50 Critic Score
    Ghost Stories
    Ghost Stories is the third anthology film by this foursome of Indian filmmakers. As with any samplers, however, there are some tastes better left forgotten and others one hopes will be expanded into fuller, even more terrifying forms.
  7. Advocate
    Provocative as the film is, it doesn’t fully reconcile Tsemel’s contradictions, if such a thing were even possible or desirable.
  8. Clemency
    Woodard’s performance gathers its astonishing force incrementally, in subtle choices and inflections that you might not even register as actorly decisions.
  9. One Cut of the Dead
    Ueda’s wonderfully tight script is divided into three acts, with the second and third parts casting the opener in an entirely new light — so much so that I rewatched it as soon as the movie ended.
  10. The Song of Names
    There is much to admire in the fluidity of Girard’s storytelling, in the music (Ray Chen did the violin solos) and in the complicated questions raised about social obligations. Still, the movie never quite justifies the contrivance of its puzzle-box construction.
  11. Ip Man 4: The Finale
    There is no mystery about who wins the movie’s final bout, but it is never less than thrilling to watch Yen’s fluttering limbs in action.
  12. What She Said: The Art of Pauline Kael
    A numbing torrent of largely unidentified film clips and poorly labeled commentary, Rob Garver’s overstuffed tribute to the life and work of America’s best-known — and most written about — film critic is at times barely coherent.
  13. Just Mercy
    Just Mercy is saved from being an earnest, inert courtroom drama when it spends time on death row, where it is opened up and given depth by two strong, subtle performances, from Foxx and Rob Morgan.
  14. Spies in Disguise
    The lessons are so treacly, and their delivery method so single-minded, that the Valley Girl phrase “gag me with a spoon” springs to mind. But you have to give the movie credit for sticking to its lack of guns.
  15. 1917
    A carefully organized and sanitized war picture from Sam Mendes that turns one of the most catastrophic episodes in modern times into an exercise in preening showmanship.
  16. Dabangg 3
    Dabangg 3 is earnest, and it earnestly wants to deliver thrills. To do so, though, it would have to provide that other essential Bollywood ingredient: emotion. What’s missing are the tears. The movie hardly leaves a trace.
  17. Little Women
    Like any good novelist and every great filmmaker, Gerwig isn’t afraid to let her audience work a little. She trusts our intelligence and our curiosity, and also her own command of the medium.
  18. Dead Kids
    This often compelling window into the boys’ culture is muddied by overly slick stylization.
  19. A Christmas Prince: The Royal Baby
    Although it offers a dungeon, a curse and a shocking theft, this flat, anodyne movie is unlikely to join the pantheon of holiday classics, so keep a rein on your expectations and accept that you’ll need something more to salvage the evening.
  20. She's Missing
    She’s Missing is slow and dreamy and frustratingly opaque. Yet it has a potent sense of place and an ominous atmosphere of impermanence.
  21. Invisible Life
    There’s such a disconcerting rush of lush imagery and action in the first 40 minutes or so of “Invisible Life” that one is apt to wonder whether there’s any kind of focused narrative. But the casual misdirection is setting the viewer up for an emotional kill.
  22. Togo
    When Togo gets going, it goes.
  23. Cats
    Generally, Hooper pulls away from loony-tunes excess, tries for sexy rather than freaky, and plucks at heartstrings, a reflex that pulls the story into mawkishness, particularly when he cuts to Victoria.
  24. Star Wars: Episode IX - The Rise of Skywalker
    The Rise of Skywalker — Episode IX, in case you’ve lost count — is one of the best. Also one of the worst. Perfectly middling. It all amounts to the same thing.
  25. 6 Underground
    When it comes to turning up action to 11, Bay is incorrigible. Not just with sound and fury; there are genuinely eccentric innovations here. There’s certainly not a whole lot of recognizable humanity, but hey, that’s why there’s “It’s a Beautiful Day in the Neighborhood.”
  26. Jumanji: The Next Level
    It’s perhaps unfair to call this a turkey. It’s got some sweet moments, and the cast, as it did in the previous picture, enjoys itself at least semi-infectiously. But the action sequences are lifeless; the lessons valid but arguably stale; and the trimmings, mere bloat.
  27. Uncut Gems
    Lots of stuff happens, lots and lots, and some of it can be hard to track. But the bedlam is intentional and amusing. All you need to do is latch onto Howard as he runs from here to there, yelling greetings, taking calls, making deals, always moving amid jump cuts, zooms and lurid close-ups.
  28. Black Christmas
    If the 2019 Black Christmas is not nearly as chilling as the original, it is genuinely barbed as gender satire, and it cleverly pre-empts obvious outrage.
  29. The Great War
    It simply does not have the budget or craft for the scale it requires.
  30. The Death and Life of John F. Donovan
    Struggling to connect the filaments of past and present, youth and maturity, Dolan seems lost, his signature vivaciousness and sense of fun almost entirely muted. Instead, what lingers is a feeling of being lectured to — which isn’t much fun at all.
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