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. Maria
    What we get here isn’t interesting, and it’s not told in an interesting way.
  2. Nature of the Crime
    This quiet and affecting documentary is at once an argument for reform and a soul-searching question: Should the guiding principle of criminal justice be retribution or rehabilitation?
  3. It's Not Me
    Love poem, restless dream, troubled history, alchemist’s scrapbook — Leos Carax’s It’s Not Me is pure cinema as it dances through its dense 42 minutes.
  4. The Bibi Files
    Beyond the videos, the movie takes a thorough, methodical approach to laying out the case against Netanyahu, even if few of its arguments are new.
  5. Hard Truths
    With deep feeling and lacerating and gentle words, Leigh creates a world that, like the vast, mysterious one hovering outside its frame, can seem agonizingly empty if you can’t see the people in it.
  6. Mary
    No genre gesture goes untapped in the deliberately hagiographic “Mary,” a coming-of-age saga about the mother of Jesus. Directed by D.J. Caruso and written by Timothy Michael Hayes, the film aims to draw multitudes.
  7. Unstoppable
    William Goldenberg’s feature directing debut comes to life more often as a conventional family drama than as a conventional sports movie.
  8. Day of the Fight
    Day of the Fight is an unabashed genre picture that manages to be both the kind of movie they supposedly don’t make like they used to, and also something bracingly fresh. It’s anchored by the lead actor, Michael C. Pitt, here ferocious and heart-stabbingly vulnerable in equal proportion.
  9. Lake George
    It’s Coon’s charming performance of the eccentric victim-to-be that brings the film, written and directed by Jeffrey Reiner, into fuller focus as a crime comedy.
  10. Nightbitch
    Adams is a performer whose emotional transparency can make her characters seem unguarded and appealingly vulnerable, and the movie works as well as it does in great part because of her.
  11. Oh, Canada
    Schrader’s approach to this material — it’s his second movie based on a novel by Banks, the first being “Affliction” (1998) — is fascinating, a filmmaker’s translation in every sense of the word.
  12. The End
    The End is about one version of the end of the world, and about how the people who could have prevented it might feel when they get there. But to watch it is to think about yourself, at least if you have a conscience, and to ponder the sort of cognitive dissonance you live with every day.
  13. Y2K
    Jaeden Martell, Julian Dennison and Rachel Zegler, as the teens tasked with thwarting the apocalypse, make charming heroes — but it’s Mooney himself, as the loquacious stoner Garret, who is the film’s dopey MVP.
  14. The Girl with the Needle
    The Girl With the Needle is most intriguing when it lingers in its disturbing fictions, which come to life with exceptional style.
  15. The Order
    The movie is more effective as a grim, involving cop thriller than it is as an ostensible statement on the Order’s reverberations in the present.
  16. The Return
    Less an epic poem than a showcase for two of cinema’s finest actors, The Return is visually bleak and emotionally gripping.
  17. Super/Man: The Christopher Reeve Story
    Reeve’s bond with his fellow actor Robin Williams also makes up one of the documentary’s meatiest threads, adding depth to the character study.
  18. Queer
    [Lee] may have been Guadagnino-ized, and much about what makes him tick, his past and his art, remains obscured. Yet in Craig’s ravaged charisma you do see someone who’s ready to blow open other doors of perception.
  19. Beatles '64
    Watching the band in the Plaza Hotel and fans in the streets, hoping to catch a glimpse of their idols, you can’t help but get swept up in a 60-year-old fervor.
  20. Nutcrackers
    The film gets better whenever Stiller recedes into the background, but the movie’s insistence on Michael’s redemption story as the main narrative thread hurts it. It’s impossible to care too much about this pompous, uptight, strangely boring guy. Especially because we know how his story will end.
  21. Queens
    In this case, thematic focus is bit of a buzz kill, pulling an otherwise unique portrait onto generic grounds.
  22. Sweethearts
    This direct-to-streaming bauble benefits from two leads whose charm effortlessly outshines the material.
  23. Moana 2
    Squint your eyes against the specifics, and the odyssey tends to deliver a mood that fluctuates along a scale of benign to bright.
  24. The Seed of the Sacred Fig
    The Seed of the Sacred Fig asks us to enter a family’s story, but also to acknowledge that we are part of it. We’re extras in the background, no matter how far away we are. For Rasoulof, the world he’s created is far from theoretical. The consequences have been, too.
  25. Night Is Not Eternal
    It’s the rare truly nuanced political documentary that is likely to challenge every viewer’s perspective — not because it tries to see all sides of an issue and leaves the viewer suspended in confusion, but because its point of view feels radically outside of convention, beholden to no one.
  26. Spellbound
    It isn’t fair to say that “Spellbound” lacks musical or visual invention. Zegler can belt out a song, and the evil storm that transmogrified the royals is pleasingly lo-fi. (It looks like a scribble-scrabble twister.) But the magic feels distinctly, almost insultingly poached.
  27. Gladiator II
    Like Scott’s filmmaking in this pleasurably immersive spectacle — with its foreign ancients and mentalities, exotic animals and equally unfamiliar calls to human nobility — Washington’s performance has skill, intensity and absolute confidence.
  28. Sabbath Queen
    [A] fascinating look at the act of questioning yourself and your family, your surroundings and your decisions.
  29. The Piano Lesson
    What’s great about the movie is its performances. John David Washington brings fire to his role, matched by Deadwyler’s coolly furious resolve. Jackson’s role has him mostly observing, but he’s a magnetic presence. And Fisher is phenomenal, embodying a character who seems oblivious and a little dense but, it turns out, is more than meets the eye. Still, as a film, The Piano Lesson is the weakest of the Denzel Washington-produced Pittsburgh Cycle.
  30. A Photographic Memory
    It’s a film that captures the unsettling sensation of reaching middle age, knowing the length of the road ahead is uncertain but certainly shorter than it’s ever been, and not being able to see past the age your parent was upon death.
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