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 King
    What Michôd never manages to make clear is what we are to make of this version’s nationalism, its glorification of war, its ambivalence toward corrupting power and its selective, finally misguided attempt to brush off Shakespeare.
  2. Emanuel
    The movie is primarily an act of bearing witness that does not ask to be judged on conventional filmmaking terms.
  3. Mary
    Narrative ellipses and a slew of visual clichés — like vague shapes, ghostly footprints and disorienting flashes of light — make Mary (the name shared by the ship and the couple’s younger daughter) a particularly unsatisfying possession yarn.
  4. Fantastic Fungi
    A charming blend of science and conjecture, Fantastic Fungi wants to free your mind.
  5. Lucky Day
    If you’re one of those people who believes the Tarantino of today still needs to “grow up,” this movie will provide an oblique but vivid insight into how much worse things might have been.
  6. The Sky Is Pink
    The fantasy of The Sky Is Pink is that Aisha’s death allows her to see her mother with adoring omniscience, and the film is never more pleasing than when it revels in the glamorous melodrama of a superstar performing motherhood.
  7. In My Room
    Abetted by Patrick Orth’s careful, almost obsessively calm camerawork, Köhler has concocted an uncommonly subtle and deliberately ambiguous work, one that’s delicately rewarding, if you meet it halfway.
  8. Gemini Man
    The idea of confronting an unknown second self is full of rich, uncanny potential — there’s a literary tradition going back at least to Edgar Allan Poe — but Gemini Man squanders it, along with what might have been two interesting performances.
  9. Pain and Glory
    A great deal happens in Pain and Glory, just not ritualistically and not at top volume. Its agonies are tempered, its regrets hushed, its restraint powerful.
  10. Memory: The Origins of Alien
    While it is generally engaging to learn about the influences of the screenwriter Dan O’Bannon or the artistic process of H.R. Giger (who designed the alien), the documentary is at its least fawning when it focuses on technique.
  11. Lucy in the Sky
    It’s a dispiriting mess and waste of talent, sunk by a lack of focus, misguided choices and insistently unproductive, at times incoherent clashing tones.
  12. Cuck
    If you want to make a movie that argues for stricter gun laws, or more conscientious nationwide mental health care, by all means go ahead. But this kind of morbid, witless scab-picking, capped by an oh-so-ironic choice of closing credits song, is worse than useless.
  13. In the Tall Grass
    Natali whips up an atmospheric frenzy in kind, but every new addition is a subtraction. Two characters condemned to an eternal game of “Marco Polo” is scary enough on its own.
  14. Joker
    To be worth arguing about, a movie must first of all be interesting: it must have, if not a coherent point of view, at least a worked-out, thought-provoking set of themes, some kind of imaginative contact with the world as we know it. Joker, an empty, foggy exercise in second-hand style and second-rate philosophizing, has none of that.
    • 77 Metascore
    • 70 Critic Score
    The Harder They Come
    The largely amateur cast of black performers and their producer-director may be involved in basically simple action fare in The Harder They Come, but they also leave a slightly disturbing, documentary impression of the darker side of the sunny Jamaica.
  16. Celebration
    Saint Laurent was essential to 20th-century culture, and Celebration shows the inevitable fading of glory as well as the enduring features of his life’s work.
  17. Dolemite Is My Name
    It has a loose, friendly, house-party vibe, and it’s impossible not to have a good time watching the actors have a good time with one another. If there’s a problem, it’s that the good humor has the effect of lowering the film’s dramatic stakes, and risks turning its cultural reference points into cartoons.
  18. The Pretenders
    As nostalgic twaddle goes, “Me and Phil and the New Wave Girl” (I mean Pretenders) initially feels like an innocuous treatment of the joys and sorrows of cinephilia and young love. The sort of thing concocted by men whose collegiate experience taught them little beyond how to turn self-serving reminiscences into middling indie movies. Soon, though, it descends into several discrete modes of misogyny.
  19. The Irishman
    A monument is a complicated thing. This one is big and solid — and also surprisingly, surpassingly delicate.
    • 48 Metascore
    • 70 Critic Score
    In the Shadow of the Moon
    The film is never less than engaging, and it’s just about always clever.
  21. Sink or Swim
    A gentle, genial dip into a pool of midlife despair.
  22. The Day Shall Come
    A circular firing-squad of full-on crazy, Chris Morris’s The Day Shall Come barges into American counterterrorism tactics with sledgehammer satire and a numbingly repetitive plot.
  23. Sister Aimee
    A weird, erratic and occasionally insightful experiment that, unlike its indefatigable star, never quite finds its zing.
  24. The Golden Glove
    Akin may deserve credit for not flinching from the grotesque; other serial-killer-adjacent entertainments, like “The Silence of the Lambs,” “Zodiac” or “Mindhunter,” tend to concentrate on the cerebral mechanics of crime solving. But sordid details, undermined by snickers, aren’t in themselves illuminating.
  25. 10 Minutes Gone
    The title of this movie proves unusually apt: You will figure out its climactic plot twist within the first 10 minutes.
  26. Jim Allison: Breakthrough
    Documentaries about innovative figures don’t always offer correspondingly innovative filmmaking. But even coloring within the lines of conventional biographical storytelling, Jim Allison: Breakthrough provides an accessible introduction to James P. Allison.
  27. Abominable
    Abominable is an exceptionally watchable and amiable animated tale.
  28. The Death of Dick Long
    The Death of Dick Long, until it meanders into a semisincere dramatic dimension, manages to pack in a good number of laughs for a significant amount of time.
  29. First Love
    Miike’s seemingly offhand inventiveness is evident in almost every shot and cut.
  30. Anthropocene: The Human Epoch
    As a work of cinema, Anthropocene: The Human Epoch can seem a bit torn in its approach, caught between a desire to spread a message to mainstream viewers and more cryptic, artistic aims. At times, more information would be preferable; in other scenes, images speak volumes without words. But as advocacy, the movie is potent and frequently terrifying.
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