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. You're Cordially Invited
    There is something off about You’re Cordially Invited, some sense that the whole thing never clicks into place.
  2. Companion
    The film’s satire is barn-door broad, its humor sidelong and sharp enough to take the edge off the gore.
  3. Marcello Mio
    Some might call it a “Keeping Up With the Kardashians” for fans of European cinema. Others might say it’s a trifle. The film’s ending, however, amounts to a bemused shrug.
  4. Green and Gold
    While it speaks well of Nelson’s integrity as a performer that he doesn’t make much effort to render Buck as ingratiating, the result is that the character can be a bit of a drag. His affection for his wife, Margaret (Annabel Armour), shows his softer side.
  5. Love Me
    The Zucheros bring a great deal of imagination to the task, and the sheer audacity of the movie is enough to make it worth watching, even if, at times, the gadgets’ sentimental education starts to feel repetitive.
  6. Dog Man
    In this screen adaptation, written and directed by Peter Hastings, jokes fly with the bouncy randomness of Dog Man’s favorite tennis ball, and there are so many that a fair number of them would land even if they weren’t pretty good.
  7. Eternal You
    In a wide-ranging and somewhat rambling manner, it is about humans’ desperation to find meaning in life wherever they can, and how companies are rushing to fill that gap and inspire almost religious devotion, even in the professionals making the tools.
  8. Liza: A Truly Terrific Absolutely True Story
    “A Truly Terrific Absolutely True Story” is a largely enjoyable, cozily intimate movie that plays like it was made by a fan.
  9. Flight Risk
    Where Flight Risk fails as a film is not really Gibson’s fault. He knows how to shoot action sequences. The screenplay is instead all over the place, in a way that feels tired and halfhearted.
  10. Rose
    In the closing scene, Saada, relying on a fierce bit of acting by Fabian, finds a way to pose the question directly to the audience of what Rose’s life should look like. The answer is clear.
  11. Star Trek: Section 31
    "Section 31,” bravely directed by Olatunde Osunsanmi, is a dog’s dinner of head-snapping reversals and explanatory dialogue — a movie with little on its mind but mayhem.
  12. Presence
    Presence is another ideal trap to trip for a filmmaker who enjoys challenges and changing it up artistically as much as Soderbergh does.
  13. Inheritance
    It’s underbaked and baffling to watch, with little tension or interest to pull us through.
  14. The Colors Within
    The Colors Within has such an aloof tone that the deeper motivations and stakes for each character, though alluded to, don’t feel substantial enough to provide the story with any sense of urgency.
  15. Grand Theft Hamlet
    It’s surprisingly moving, more a testament to the human drive toward community and connection in even the most unexpected of spaces.
  16. Wish You Were Here
    The fault seems to be in the chemistry, not just between the leads — it’s tough to believe that Charlotte and Adam have the connection on their night together that the movie insists upon — but between all of the characters.
  17. Night Call
    The film may be sticking to a familiar template, in which a regular Joe gets sucked into an underworld, but Blanchard’s snappy direction and the great mileage he gets out of the city’s nooks and crannies bumps it up the crime-action totem pole.
  18. Alarum
    Given that the finale of Michael Polish’s spies-on-the-lam thriller, Alarum, teases the unwelcome possibility of a sequel, please consider this review a mercy killing.
  19. Back in Action
    Back in Action has a better cast than its (often mawkish) writing earns. Mostly, the familiarity takes its toll.
  20. One Of Them Days
    Lamont and Singleton effortlessly mix the silly with the sincere, and although “One of Them Days” favors razzing over heart-to-hearts, our belief in this pairing never wavers. For that, hats off to SZA and especially Palmer, who lights up the screen with starry zeal.
  21. Wolf Man
    In one sense, Wolf Man is a generic, and not especially scary, cabin-in-the-woods frightener that leans too often on tenebrous lighting and ear-shredding sound effects. . . Yet the extreme pathos of Blake’s plight is palpable, and Whannell is determined to make us feel it.
  22. I'm Still Here
    I’m Still Here does not present as a simple polemic about a historical and political situation, and that’s the secret to its global appeal. It’s also a moving portrait of how politics disrupts and reshapes the domestic sphere, and how solidarity, community and love are the only viable path toward living in tragedy. And it warns us to mistrust anyone who tries to erase or rewrite the past.
  23. In the Shadow of Beirut
    The four stories are almost overwhelming to witness all packed together, but the mission to communicate them to a larger audience is admirable.
  24. Every Little Thing
    Masear is a terrific documentary subject, but the hummingbirds are as well, and Aitken brings them close to us.
  25. Ad Vitam
    The minimal plot purports to endorse spartan storytelling, but after a promising start the movie detours into an overlong flashback. This may be to give Franck emotional weight, but it only creates belly fat.
  26. Den of Thieves 2: Pantera
    Den of Thieves 2: Pantera isn’t groundbreaking, but it delivers what it promises: lovable scoundrels trading bullets and traversing borders.
  27. The Last Republican
    The combative camaraderie that Pink and Kinzinger demonstrate respects both of them as humans — without softening their stances one bit. I hope to see more films like this one in the years to come.
  28. The Last Showgirl
    Modestly scaled and loosely plotted, it is an unusually tender movie and an ideal vehicle for Coppola’s gift for expressing the intangible and the ephemeral.
  29. Oceans Are the Real Continents
    The much-in-vogue hybrid mode proves more cryptic than edifying this time around.
  30. Eat the Night
    The film’s escalating violence frequently smothers its sweeter, more haunting moments, such as Night using the game to ease Apolline’s fear of losing her brother.
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