The New York Times' Scores

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For 20,271 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: 9,377 out of 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
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  1. Maineland
    Maineland takes up a large and complicated set of topics — the global economy, the shifting relations between East and West, the commodification of American education — and addresses them with understated delicacy.
  2. 7 Days in Entebbe
    What should unfold like an unsettling chapter in a long, tragic story — or a tale of cruelty and heroism — feels more like an old TV show. Everybody is going through the motions.
  3. Shining Moon
    Small and stagy and claustrophobic, Shining Moon is visually rough yet oddly enticing in its experimental awkwardness.
  4. The Forgiven
    When the movie can stay out of its own way, it delivers some powerful scenes, including one in which Blomfeld faces down a would-be assassin (Nandiphile Mbeshu, superb) in a prison shower room. But beyond that, the movie offers conventional gratifications and no surprises.
  5. Itzhak
    We get a brief dip into his family’s past and emigration from Israel, but the filmmaker never digs deeply enough to reveal any other substantial dimension of this man, or her theories about what shaped him.
  6. Hannah
    Rigorously structured and glacially paced, this sophomore feature from Andrea Pallaoro (after his 2015 family tragedy, “Medeas”) is a minimalist portrait of brutal isolation and extreme emotional anguish.
  7. Leaning Into the Wind
    Because time erases or alters Mr. Goldsworthy’s sculptures, movies are the ideal medium to capture them.... The surprise of Leaning Into the Wind is that it’s just as concerned with how time has changed Mr. Goldsworthy.
  8. The Leisure Seeker
    It’s hard to imagine other performers bringing so much to this setup. They give a true impression of two people who have spent their lives together and know how to talk each other.
  9. The Strangers: Prey at Night
    Watching it with a demonstrative crowd in a Times Square theater proved to this former grindhouse devotee that sometimes you can go home again, at least momentarily.
  10. Claire's Camera
    Ms. Huppert’s presence — steady, warm, thoughtful but with a casual air — keeps the entire enterprise classically comedic.
  11. Gringo
    Mr. Oyelowo is without a doubt the best thing in Gringo, supplying the only grace notes in a cacophony of secondhand attitude and facetious overacting.
  12. The Death of Stalin
    The Death of Stalin is by turns entertaining and unsettling, with laughs that morph into gasps and uneasy gasps that erupt into queasy, choking laughs.
  13. Thoroughbreds
    For all the chatter and intrigue, Mr. Finley never settles on a point or theme.
  14. A Wrinkle in Time
    A Wrinkle in Time, faithful to the affirmative, democratic intelligence of the book, is also committed to serving its most loyal and susceptible audience. This is, unapologetically, a children’s movie, by turns gentle, thrilling and didactic, but missing the extra dimension of terror and wonder that would have transcended the genre.
  15. Death Wish
    An imbecilic misfire.
  16. Red Sparrow
    It helps that Ms. Lawrence, like all great stars, can slip into a role as if sliding into another skin, unburdened by hesitation or self-doubt. Craft and charm are part of what she brings to this role, as well as a serviceable accent, but it’s her absolute ease and certainty that carry you through Red Sparrow.
  17. Breaking Point: The War for Democracy in Ukraine
    The filmmakers supply terrifying footage: At civilian rallies, we see nightstick beatings and bloody riots. During military battles, bullets whiz by and explosions shake the cameras. Nerve-racking scenes follow Ukraine’s extraordinarily bold volunteer soldiers.
  18. Souvenir
    The story is as predictable as they come, played out at such a low emotional temperature as to be practically ignorable. Which wouldn’t necessarily be a problem if it offered something else worth paying attention to. Something else besides the endlessly watchable lead actress, that is.
  19. They Remain
    They Remain, directed, edited and scripted by Philip Gelatt, from a short story by Laird Barron, shows that it’s possible to a make an engrossing genre piece on limited resources.
  20. Hondros
    If the movie doesn’t go more than skin deep in interrogating questions about interventions both military and journalistic into the Middle East, it does succeed in opening up Mr. Hondros’s contradiction-filled world.
  21. Midnighters
    As tables turn and turn again — nudged along by a wolfish impostor (Ward Horton) and some creative torturing — the movie allows scant time to ponder each new tack.
  22. The Vanishing Of Sidney Hall
    Handsome cinematography and a highly competent supporting cast — including Michelle Monaghan, Nathan Lane and Alex Karpovsky — can’t save The Vanishing of Sidney Hall, a tortured mystery dripping with pretentiousness.
  23. Goldstone
    Its sociopolitical concerns — primarily around indigenous land rights — are muted and muddled by a script that favors manly grunting and moody looks over clarifying dialogue. Riven with racism and sharp bursts of violence, Goldstone nevertheless has a rough, desolate beauty.
  24. Oh Lucy!
    A movie in which the human comedy is by turns tender, plaintive, heartfelt and joyful.
  25. Submission
    The satire is cautious and the emotions restrained, so that what should be a swirl of lust, ambition, recrimination and bureaucratic absurdity rises only to genteel, nervous laughter and mild discomfort.
  26. Werewolf
    The performers don’t seem like they’re acting at all, which contributes to the film’s unsettling power. The elliptical narrative structure articulates a sad truth of the addict’s life concerning both the challenge and the tedium of making it through to the next fix.
  27. Did You Wonder Who Fired the Gun?
    The movie, a scorching and rigorous essay on memory and accountability, is neither a profession of guilt nor a performance of virtue. Though his inquiry is intensely, at times painfully personal, Mr. Wilkerson is above all concerned with unpacking the mechanisms of racial domination.
  28. November
    Suffused with sorcery and silvery light, November, written and directed by Rainer Sarnet, is a bizarre Estonian love story — a mishmash of folklore, farm animals and scabrous fun — in which beauty and ugliness fight to the death.
  29. El Mar La Mar
    The result is simultaneously elusive and concrete: abstract cinema that packs a punch.
  30. The Cured
    Anyone digging through the cemetery soil again had better have fresh ideas. The Cured, the debut feature from David Freyne, has roughly two.
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