The New York Times' Scores

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For 20,278 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: 9,380 out of 20278
  2. Mixed: 8,434 out of 20278
  3. Negative: 2,464 out of 20278
20278 movie reviews
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  1. Aquaman
    It’s just two and a half years of — sorry, two and a half hours — of oceanic screen savers and hair that won’t stop undulating so we know when we’re underwater.
  2. The American Meme
    The American Meme is a polemic as shallow and artificial as it thinks its subjects are.
  3. Bumblebee
    There’s a lot to like here, particularly Steinfeld’s performance.
  4. Mary Poppins Returns
    What’s odd here is how closely the new movie follows the original’s arc without ever capturing its bliss or tapping into its touching delicacy of feeling.
  5. Vice
    Vice offers more than Yuletide rage-bait for liberal moviegoers, who already have plenty to be mad about. Revulsion and admiration lie as close together as the red and white stripes on the American flag, and if this is in some respects a real-life monster movie, it’s one that takes a lively and at times surprisingly sympathetic interest in its chosen demon.
  6. Capernaum
    Capernaum, a sprawling tale wrenched from real life, goes beyond the conventions of documentary or realism into a mode of representation that doesn’t quite have a name. It’s a fairy tale and an opera, a potboiler and a news bulletin, a howl of protest and an anthem of resistance.
  7. The House That Jack Built
    Something feels off with von Trier’s sense of artistry now. Something feels stuck, like his head’s wound up lodged in his rear, which brings the movie closer to “The Human Centipede” than I would have thought. But this isn’t cinematic horror. It’s proctology.
  8. The Mule
    The story shifts and lumbers toward redemption that Earl doesn’t earn and that sentimentalizes a movie that is never especially good and often teasingly offensive but also fitfully entertaining and willfully perverse.
  9. Martyr
    The more time Khaled’s camera takes to wend its way around Hassane’s suspended body, the more its caresses seem to match all the embracing and caressing Hassane’s friend does. And the more time the movie devotes to the parts of this one man’s body the more that care seems to stand in for a country’s neglected whole.
  10. The World Is Yours
    The young director Romain Gavras does not reinvent the comic caper in the French film The World Is Yours, but he revitalizes that genre with pop verve, goofy humor and visual sophistication. A flamboyant turn from Isabelle Adjani doesn’t hurt either, with the star sending up her own image as an aloof leading lady.
  11. Lots of Kids, a Monkey and a Castle
    Along with the loving portraiture are elements of peculiar mystery.
  12. Dead Souls
    Despite its intense running time and disturbing subject matter, Dead Souls does not seek a complete accounting. In fact, it’s partly about the inability to convey the full horror of these experiences.
  13. Never-Ending Man: Hayao Miyazaki
    It’s never boring but a trifle diffuse. If you’re a Miyazaki fan, you’ll want to see it anyway.
  14. Ghostbox Cowboy
    Ghostbox Cowboy feels like a William Gibson adaptation directed by David Lynch and Jean-Luc Godard — while not directly lifting from or nodding to those artists. It’s rare that a release so late in the year is so noteworthy, but this is a genuine find.
  15. That Way Madness Lies...
    This film lays bare how the American health care system seems designed, at every level, to fail the mentally ill and those who try to be of genuine service to them.
  16. Bird Box
    The squelching of promise is not my worst (cinematic) fear, per se. But it’s still disappointing.
  17. Spider-Man: Into the Spider-Verse
    Spider-Man: Into the Spider-Verse contains a vital element that has been missing from too many recent superhero movies: fun.
  18. If Beale Street Could Talk
    When Jenkins is true to himself, he soars; he stumbles, though, when he’s overly faithful to the novel or doesn’t trust the audience.
  19. Mortal Engines
    As these things go, Mortal Engines offers a fair amount of fun.
  20. Vox Lux
    Vox Lux is an audacious story about a survivor who becomes a star, and a deeply satisfying, narratively ambitious jolt of a movie.
  21. Mary Queen of Scots
    It looks beautiful and moves swiftly but never quite takes full imaginative flight.
  22. Bitter Melon
    Although the first hour of Bitter Melon is a spiky and absorbing story of repressed feelings, the movie grinds to a halt in its final third as the characters talk things out, which might be helpful in life but in drama tends to belabor the obvious, as well as offer an easy exit.
  23. Dumplin'
    Kristin Hahn’s script gives Will sassy lines and too many tears, but the filmmakers never give this character a real, searching, complex inner life. They give her problems to solve, hurdles to clear. They turn emotional complexity into affirmations and a potentially transformational character into a you-go-girl cliché.
  24. Swimming with Men
    Although the film has no grand cinematic ambitions, its unsensationalized focus on these aging bodies invites welcome kindness.
  25. The Party's Just Beginning
    Gillan plays her messy, mournful role with unfussy integrity. The movie does not stray beyond the borders of the modest character study, but within those parameters, it’s accomplished and impressively straightforward.
  26. The Great Pretender
    Some of the details about female characters that Silver and the screenwriter Jack Dunphy choose to foreground...indicate that the filmmakers share with their male characters a strain of artsy-bro misogyny. The movie is nevertheless striking and stimulating in some respects.
  27. Divide and Conquer: The Story of Roger Ailes
    It conveys a credible sense of Ailes’s psychology through the testimony of peers and co-workers who witnessed his ruthlessness firsthand.
  28. Asher
    Unfortunately the pace is so relaxed as to be meandering; and Jay Zaretsky’s screenplay is cliché-packed.
  29. The Wild Boys
    It’s hard to untangle the film’s many bizarre indulgences, which at times seem intended to titillate as much as disturb, and yet somehow do neither. It’s all a bit too ludicrous to be sensuous or unsettling, or ultimately all that insightful.
  30. Ben Is Back
    Ben Is Back is really Holly’s story, and notwithstanding the all-around excellence of the cast, it’s very much Roberts’s movie. This isn’t a matter of ego or showboating. On the contrary, what is so moving and effective about Roberts’s work here is her shrewd subversion of her long-established persona.
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