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. Dragged Across Concrete
    The movie is generally watchable, even at its slowest and ugliest, simply because the actors are solid even when their characters are repellent.
  2. Buddy
    The movie is warm, observant, mildly philosophical and deeply curious about the daily and inner lives of both the people and their four-legged assistants.
    • 73 Metascore
    • 80 Critic Score
    Girl
    If, however, you can tune out even a little of the background noise, you’ll find an immersive, empathetic film that speaks the language of tolerance without getting preachy.
  4. The Eyes of Orson Welles
    The movie intersperses observations and speculations on Welles’s life and work with long looks at his graphic pieces. These are fascinating.
  5. Iceman
    Randau’s script, though, is an implacable plod from one bashing to another.
  6. Yardie
    John Conroy’s cinematography hustles and heaves, straining to inject a vitality that the story too often lacks. Yet whether in the kaleidoscopic warmth of Jamaica or the gray chill of London, Yardie’s sunlight-filled songs will make your toes twitch.
  7. The Aftermath
    An old-fashioned wartime romance whose plot highlights are recognizable from outer space, this gleaming dollop of prestige comfort food is neither logically coherent nor emotionally satisfying.
  8. Knife + Heart
    This movie packs in plenty of cinema acrobatics and spectacle without ever feeling out of control, even as it morphs into a far-fetched whodunit.
  9. The Juniper Tree
    In watching a newly restored version, I was struck not only by Björk’s distinctive charisma at 24 years old but also by the talent of the film’s writer, director and editor, Nietzchka Keene.
  10. Combat Obscura
    Leaning in to the style its patchwork of source material requires, Combat Obscura, is an eye-opening dispatch from a conflict mired in confusion.
  11. The Hummingbird Project
    As the geological, financial and personal barriers the cousins face grow increasingly absurd, the movie works up a satisfying sweat.
  12. The Mustang
    The Mustang is direct and almost perilously familiar — it draws from both westerns and prison movies — yet it is also attractively filigreed with surprising faces, unusual genre notes and luminous, evanescent beauty.
  13. The Highwaymen
    This isn’t an especially good movie — it’s too long, too drenched in Thomas Newman’s cloyingly eclectic score, too full of speechifying and self-regard — but it is a coherent one, with the courage of its vengeful, murderous, politically terrifying convictions.
  14. Wonder Park
    Although its protagonist is blessed with a gift for engineering the impossible, Wonder Park is a film where faulty execution betrays a healthy imagination.
  15. Five Feet Apart
    Richardson, previously wonderful with good material (“Columbus,” “Support the Girls”), here cements her genius status by finding depths beyond the contrived screenplay.
  16. Ash Is Purest White
    Enthralling.
    • tbd Metascore
    • 80 Critic Score
    Juanita
    Although Juanita teeters off track a bit with the chef’s half-baked back story, it soars when it allows its lead to explore the complexities of love and unbridled joy. And Woodard completely owns it.
  18. Lady J (Mademoiselle de Joncquières)
    Mouret manipulates our sympathies effortlessly as the story zigzags its way from there to its ultimately surprising and quite satisfying resolution.
  19. Babylon
    All of that observation in Babylon amounts to something that still feels new. You’re looking at people who, in 1980 England, were, at last, being properly, seriously seen.
  20. 3 Faces
    An immersive, pleasurably intelligent movie, one that weds documentary naturalism and melodramatic excess with formalist rigor.
  21. Gloria Bell
    As a performer, Moore can go big, and a terrible yowl here pierces the heart. But she’s a virtuoso of restraint. She shows you the rush of emotions just before they break the surface, so the hurt and confusion flicker on her face like minute shifts of light.
  22. I'm Not Here
    While the film aspires to a clipped complexity, it comes across as gimmicky and amateurish — a chain of miseries passed off as tough truths.
  23. The Kid
    Set in the American Southwest in 1879, The Kid feels less like an actual movie than a table-napkin idea for one.
  24. Island of the Hungry Ghosts
    Ethereal, intensely moving.
  25. Two Plains & a Fancy
    The mode of humor is close to cliquish anticomedy, and viewers not attuned to it may feel like there’s a joke they’re missing.
    • 52 Metascore
    • 50 Critic Score
    Ferrante Fever
    It’s an anodyne fan flick that casts only furtive glances in Ferrante’s direction, as if the filmmaker, Giacomo Durzi, were a reverential subject who doesn’t dare to make eye contact with the queen.
  27. Black Mother
    In its poetic, elliptical, concise way, this film makes a grand statement: The black mother is the mother of life itself. And the gaze directed at the black faces and bodies in “Black Mother” is not a male gaze, or a documentarian’s gaze. It is a gaze of love.
  28. An Elephant Sitting Still
    Unsparing as Hu’s anatomy of moral drift may be, there is something graceful in his sympathetic attention to lives defined almost entirely by disappointment and diminished hope. Unlike the titular elephant, the film never stops moving, and by the end, instead of feeling beaten down, the viewer is likely to feel moved as well.
  29. Triple Frontier
    Chandor handles the action scenes smoothly, making it easy to gloss over what the movie is saying, trying to say or accidentally saying. He maintains the kind of accelerated pace that gives your eyes a workout, and pads the story with an inviting camaraderie that brings you into the group.
  30. Captain Marvel
    It’s pretty good fun, and could almost be described without sarcasm as a scrappy little picture, like most of Boden and Fleck’s other work.
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