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. Life After
    Life After doesn’t equivocate; neither does it offer easy answers. It tackles a thorny topic in a challenging way, with the tenderness, complexity and — notwithstanding Davenport’s earlier wish — the personal perspective it deserves.
  2. No Sleep Till
    No Sleep Till is an understated — and somewhat sleepy — film. Its mood of boredom tinged with dread sometimes verges on outright listlessness.
  3. Smurfs
    It’s refreshing to see children’s animation makers use surrealism, instead of winking pop-culture references, to charm adults.
  4. I Know What You Did Last Summer
    If only these intriguing elements were attached to a more exciting film: We may live among our ghosts, but it’s only fun if they’re actually scaring us.
  5. Cloud
    For all of his genre-bending on display, Kurosawa is interested in something more real and more dark about humanity’s capacity for greed and bitterness, and the quiet ways that the internet can further mutate those diseases in us.
  6. Eddington
    Your mileage will vary according to your stomach for this stuff, but I found myself breathless with giggles at times, sometimes the therapeutic laugh of recognition and sometimes because Aster has a keen eye for what’s most absurd about human nature.
  7. Apocalypse in the Tropics
    It is very precisely not about American politics. Yet the temptation for a segment of viewers to see it as being about that will, I suspect, be insurmountable. But Costa is here to tell a bigger story.
  8. Little, Big, and Far
    I am not quite sure how to tell you what the film is, other than achingly beautiful.
  9. Brick
    Brick is built almost entirely of hints and twists.
  10. Daniela Forever
    The philosophical window dressing — would you rather your loved one live a better life if it meant living without you? — doesn’t play to Vigalondo’s strengths.
  11. Don't Let's Go to the Dogs Tonight
    Because she lacks a conception of colonialism, Davidtz sometimes struggles to negotiate the film’s fidelity to her point of view with a more complete picture of the war.
  12. Sovereign
    Sovereign is most intriguing for its subtle, if incomplete observations of the more complicated realities of both sides of the law that inform and ripple from Jerry’s paranoid world.
  13. Wild Diamond
    Khebizi brings palpable desperation to the role of Liane, despite the limited script, while the cinematographer Noé Bach intimately frames Liane like we’re intruding on her space.
  14. Superman
    As both a story on its own and a prequel to a whole bunch of others, this movie must introduce us to a variety of characters we’ll meet later, and it does it without feeling too much like fan service or exposition.
  15. Videoheaven
    The observations range from the incisive to the grandiose, and at nearly three hours, Videoheaven could stand a tighter edit.
  16. Kill the Jockey
    The director, Luis Ortega, doesn’t give much reason to care about Remo’s conflict — the protagonist’s catatonia inspires the same in the viewer — and instead exhausts his efforts on a mannered blankness of style and mood.
  17. 40 Acres
    There’s a tense beauty to 40 Acres. Deadwyler’s forceful energy fills the frame; through her rigid stature and her cleareyed speech, she lends power and humor to this lovingly stern mother.
  18. Heads of State
    It’s loud albeit harmless japery, best appreciated with your air-conditioning cranked to movie theater levels.
  19. The Old Guard 2
    The film, directed by Victoria Mahoney, is a sure-footed romp that tightens the screws, most immediately by flexing a bigger cast and broadening the lore of the original comic book series.
  20. Barbara Walters: Tell Me Everything
    By those standards, Barbara Walters: Tell Me Everything is disappointing, and more of a puff piece than I suspect Walters herself would have wanted. Yet seen through a different lens, it’s also fascinating — a rather thrilling history of television journalism, as seen through Walters’s life.
  21. Jurassic World Rebirth
    If the franchise wants to be more than a shell of its former self, it’s going to need to recapture the wonder so many felt as kids, or adults, when faced with something so beautifully grand as a dinosaur.
  22. My Mom Jayne
    It is the exquisitely relatable messiness of this exceptional family tale that lingers.
  23. M3GAN 2.0
    Maximalism has its place, but it wears out its welcome here.
  24. Ponyboi
    Gallo’s star-making turn pushes back against this version of hypermasculinity, reshaping genre conventions that have privileged rigid gender binaries. Watching Gallo carve out space for Ponyboi is its own kind of powerful assertion.
  25. Stealing Pulp Fiction
    Turkiewicz apes Tarantino’s great film by giving chapter titles to its sections and setting multiple scenes in a diner. These sequences don’t resemble “Pulp Fiction” so much as they do television ads for Chili’s — a locale where you’ll have a better time than watching this utterly misbegotten movie.
  26. F1: The Movie
    An enjoyably arranged collection of all the visual attractions and narrative clichés that money can buy, “F1” is very simply about the satisfactions of genre cinema and the pleasures of watching appealing characters navigate fast, exotic cars that whine like juiced-up mosquitoes. It’s also about the pleasures of that ultrasmooth performance machine, Brad Pitt.
    • 90 Metascore
    • 100 Critic Score
    The Gold Rush (1925)
    Here is a comedy with streaks of poetry, pathos, tenderness, linked with brusqueness and boisterousness. It is the outstanding gem of all Chaplin's pictures, as it has more thought and originality than even such masterpieces of mirth as "The Kid" and "Shoulder Arms."
  28. KPop Demon Hunters
    The action sequences are fluid and immersive, the art is frequently striking and the music (catchy, if formulaic earworms) is a properly wielded and dynamic storytelling tool.
  29. The Queen of My Dreams
    Kaur acts as an amiable anchor, gamely embodying a mother and a daughter across time periods.
  30. Familiar Touch
    In the end, Familiar Touch reveals itself to be less about the agonies of change than in the concessions we make to feel closer to our loved ones and ourselves.
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