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. Goodrich
    Keaton’s an old pro at getting audiences to love a well-intentioned jerk, and the script gets good chuckles out of his inconsiderate attempts at generosity.
  2. High Tide
    With his exceptionally lived-in performance, Pigossi brings Lourenço’s heartbreaking emotions to life, making even the script’s contrivances feel natural.
  3. Nocturnes
    The moths remain a puzzle of data that awaits analysis. Dutta and Srinivasan’s understated approach shows research and nature in action without pretending to make a forest give up its secrets.
  4. Rumours
    Sporadically ingenious, occasionally chilling and entirely bonkers, Rumours sees Maddin (writing and directing with his longtime collaborators Evan and Galen Johnson) abandoning his more familiar black-and-white, silent-film aesthetic for vibrant color.
  5. Woman of the Hour
    As a drama, Woman of the Hour is effective and infuriating.
  6. The Line
    If the movie’s portrayal of rivalrous (and homoerotic) hypermasculinity doesn’t always seem original, it is nevertheless realized with seriousness and vigor.
  7. Brothers
    For a road-trip buddy comedy, a greater crime than being unfunny is perhaps, amid all of the shenanigans, being dull. That is partly the feeling one is left with in the R-rated movie Brothers, which, even with an A-list cast, seems to move on autopilot through all of its pit stops.
  8. Smile 2
    Smile 2, directed by Parker Finn, is more thematically ambitious than the original, which also allows Finn to stage more satisfyingly ridiculous kills and ramp up its air of delirium
  9. Anora
    This is a story of wealth, and power, and what love can and can’t overcome. But it’s also about something far more heart-rending: what it means to be accustomed to being looked at one way, and then experiencing, out of the blue, what it feels like to actually be seen.
  10. Lonely Planet
    For this to work, the relationship needs a certain element of inevitability and comfort. Theirs is stilted.
  11. Pavements
    The low-key and never very mainstream Pavement seems like the last band that would get this treatment, and that’s the joke. But it also makes the band the perfect subject for what Pavements is slyly doing, and quite brilliantly, too.
  12. Separated
    If Separated is likely too straightforward — too much of a conventional issue documentary — to be remembered as one of Morris’s richest films, it is not as if the director has abandoned his sense of profound absurdity.
  13. Patrice: The Movie
    While Jetter and Wickham’s political fight is not resolved as of the end of the movie, the thread in which Jetter works to raise money for the new van she needs to commute affordably to her job has a crowd-pleasing finish.
  14. The Menendez Brothers
    To the extent the film has appeal, it is of the tabloid variety.
  15. Daytime Revolution
    The movie’s quiet star is Douglas himself. Whether gently asking a tense Rubin about his upbringing, or helping Ono with her “box of smiles,” Douglas’s kindness and intellectual curiosity are more compelling than any political argument.
  16. Bad Genius
    Despite the film’s aims at spiky commentary, the class rebellion mostly serves as the thin wrapping to, at best, a middling heist movie that loses some of the punchy tension of the original’s getaway sequences. At its worst, it’s no more than a teenage soap opera.
  17. Piece By Piece
    Piece By Piece sidesteps feeling rote by doing something that seems, frankly, bizarre. That it works at all is a product of the quirky form fitting the subject well. It’s chaotic, sure. But that’s the fun of it.
  18. We Live in Time
    Almut’s ambitions give her spark and grit, and they make the character appealingly contemporary, as does Pugh’s vibrancy and emotionally charged performance. The actress handles the shifting periods and deepening drama adroitly, even when the filmmakers begin selling out her character.
  19. The Apprentice
    The only news here — and, really, the greatest surprise — is how thoroughly this ribald, at times predictably unflattering movie humanizes its protagonist, a classic American striver.
  20. Mad About the Boy: The Noel Coward Story
    The documentary’s biggest challenge is shaping Coward’s biography into a satisfying roller coaster of highs and lows.
  21. Satanic Hispanics
    The problem is that the films, which are in Spanish and English, rely on typical horror movie stuff — a haunted house, angry ghosts, shape shifters, tableaus of corpses — to lift scripts that are across the board mediocre. The result is eye-popping but half-formed, more sketches than fully considered short takes.
  22. Terrifier 3
    Leone’s new “Terrifier” film sags under its predecessors’ trappings: a bloated running time, an unfocused script, uneven pacing
  23. Food and Country
    Food and Country, it turns out, is aptly titled: caring about how we get our food and what we do with it isn’t just about culinary creativity. It’s about caring for our neighbors, our country and the world.
  24. Intercepted
    Intercepted is yet another crucial eyewitness document of the Russia-Ukraine war, one that makes the personal stakes painfully vivid. It’s a reminder that war isn’t waged by putative monsters but by monstrous human beings who sometimes need to hear the sounds of their mothers’ voices.
  25. It's What's Inside
    Even the twists feel obvious and not all that interesting, more the fulfillment of plot points seeded early on rather than startling turns of fortune.
  26. The Outrun
    The movie gets dangerously close to being overwrought. But Ronan’s restraint keeps it truthful, even when she’s screaming, or crying, or blacking out. In the end, it mostly aches, and aches, and aches.
  27. White Bird
    One could argue that Forster and company calibrate their anodyne effects to make a Holocaust narrative that’s palatable for younger viewers. But what mostly resonates is a particularly lachrymose brand of show-business hedging.
  28. Daaaaaalí!
    Dupieux captures Dalí’s self-promoting genius but the constant trickery eventually becomes a little tiresome.
  29. Joker: Folie à Deux
    Joker: Folie à Deux is such a dour, unpleasant slog that it is hard to know why it was made or for whom.
  30. Blink
    Blink keeps escaping any pat framing to tap into a deeper ache.
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