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. Bob Trevino Likes It
    Any genuine feeling emanates from Lily. Ferreira pitches herself into the trite story line with enthusiasm, and her verve breathes life into even the most leaden lines.
  2. The Assessment
    A sterile drama about state-controlled procreation, “The Assessment,” the first feature from the French director Fleur Fortuné, is visually stark and emotionally chilling.
  3. Ash
    The high-concept sci-fi horror film “Ash,” a hazy story about an amnesiac deep-space explorer who awakens to discover her entire crew was killed, is light on answers but heavy on style.
  4. An Unfinished Film
    Life gets in the way of art all the time, and art can be made out of life. What matters, the movie suggests, is hanging onto one another for dear life.
  5. The Parenting
    The cast is game — especially Cox, who gets to do some over-the-top Linda Blair mugging — but the script, by a “Saturday Night Live” writer, Kent Sublette, is puerile and abrasive, lacking the wit of “Evil Dead” (an obvious influence) and the brio of “Scary Movie.”
  6. The Actor
    Johnson and Stephen Cooney have shaped an unsettling, sorrowful journey from damage to a kind of deliverance.
  7. Young Hearts
    Naturalistic performances and quiet scenes of summertime idling bring to mind Luca Guadagnino’s drama “Call Me By Your Name,” though Young Hearts is a more wholesome, and ultimately more cliché, endeavor.
  8. Who by Fire
    Lesage’s characters may talk a lot, but because he avoids exposition, he ends up overloading the story with dramatically heightened episodes. These keep things simmering, but they often overstate the obvious as much as any telegraphing dialogue might.
  9. Opus
    Whoever Opus is supposed to be sending up, its aim is a bit wide of the mark. But even if the movie’s only real goal is to frighten, it bets far too much on its eventual twists.
  10. The Electric State
    Whereas the book is elliptical in narrative, muted in color palette and melancholy in mood, the movie is obvious, garish and just plain dumb.
  11. The Day the Earth Blew Up: A Looney Tunes Movie
    The movie’s energy doesn’t pay off in dividends of real pleasure. Anarchy has never been so mere as it is ultimately rendered here.
  12. Novocaine
    The violent comedy works most of all through Quaid, who is natural and nimble in embodying the funny paradox of a nebbishy hero who just won’t go down.
  13. Black Bag
    By the time Pierce Brosnan shows up, you may find yourself giggling at the whole meta deliciousness of this enterprise. You may also find yourself feverishly hoping that when it comes time to revive the Bond series, someone has the brains to call Koepp and Soderbergh.
  14. Last Take: Rust and the Story of Halyna
    The film’s biggest letdown lies in its cursory tour of who Hutchins was apart from her final hours. Despite testimony from Hutchins’s friends that repeatedly references her artistry, Mason rarely incorporates clips of Hutchins’s cinematography outside “Rust.”
  15. CHAOS: The Manson Murders
    This isn’t just about fringe cults on ranches anymore: It’s about social groups, theories about the world, the bubble you float around in on the internet, the candidate you believe in an election.
  16. Rule Breakers
    The director Bill Guttentag and his cast get the can-do spirit at its core, as well as the societal constrictions that make such perseverance especially impressive, but it’s also a story that could have been told with more concision and subtlety.
  17. The Rule of Jenny Pen
    The director remains near-merciless in his approach, never shying away from showing his vulnerable characters (and the tormentor played with twisted relish by Lithgow is, ultimately, as unprotected as any of the others) in states of utter abjection.
  18. Seven Veils
    In short, Seven Veils offers plenty to think about. But fans who mourn that Egoyan’s dramatic instincts have slipped in recent years won’t quite be getting a return to form.
  19. The Empire
    This sci-fi twaddle, soothingly framed by rolling sand dunes and a slash of crystal coastline (dreamily photographed by David Chambille), eventually tests our patience.
  20. Picture This
    For all the potentially crushing challenges Pia faces — losing her business, not living out her dream of being a photographer, alienating her beloved younger sister — Picture This, keeps it light, never letting the sharp edges of potential failure come into focus.
  21. In the Lost Lands
    This lackluster script struggles to build a captivating story to match the allure of its expansive desert setting.
  22. On Becoming a Guinea Fowl
    [Nyoni] says all she needs to with each lapidary image, with every resonant silence and with the undaunted power of Shula’s gaze.
  23. There's Still Tomorrow
    There’s Still Tomorrow is set in Rome after World War I, but it unfolds with timeless verve and romanticism.
  24. Queen of the Ring
    It’s a middling entry into the biographical sports movie genre, and the director, Ash Avildsen, cannot resist pummeling his audience with a simplistic girl-power message.
  25. Eephus
    It dwells in some languid liminal space between hangout movie and elegy, a tribute to the community institutions that hold us together, that introduce us to one another and that, in an age of optimized life choices and disappearing public spaces, are slowly fading away.
  26. Mickey 17
    Bong keeps things zipping along, and with such nimbleness that the movie’s heavier ideas never weigh it down. He jabs rather than pounds as he takes on targets — authoritarianism, comic-book heroics, the vanity of power — while playfully mixing moods and acting styles.
  27. My Dead Friend Zoe
    Most of the filmmaking in My Dead Friend Zoe feels workmanlike, proficient and straightforward in its storytelling — a promising feature debut for Hausmann-Stokes. The film’s best feature is its performances from a uniformly excellent cast.
  28. Rats!
    If anything, the onslaught of weirdness is hypnotizing. As a visibly small-scale and local undertaking, the film feels genuinely connected to a vision of working-class Texas and its various characters.
  29. Riff Raff
    Harris and Murray are such reliably engaging screen presences that they provide a few glimmers of entertainment, provided you’re able to set aside the movie’s practically all-encompassing repulsiveness.
  30. Cold Wallet
    The storytelling economy (small cast, one main location) is welcome, but none of the four characters is the sharpest tool in the shed, and whatever insights Hodierne intends on the cutthroat world of crypto remain elusive.
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