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. The Universal Theory
    Though visually handsome, the film leaves the audience with the sense that, like a grad student, it is still working out its big ideas.
  2. Apartment 7A
    It’s passably spooky, sure. But all interesting prequels have something in common: They shed new light on their predecessors that expands, illuminates or complicates them in some way. Apartment 7A feels like a predictable retread.
  3. Sleep
    Yu’s direction is confident, and he manages to convey how a little apartment can transform from domestic comfort by day to claustrophobic agony by night. His restraint throughout keeps us guessing.
  4. Lee
    “Lee” feeds the desire to seek out more of her images. Winslet’s performance demands that we consider the force behind the camera.
  5. Rez Ball
    It’s less a slam-dunk nail-biter than a matter of can-do self-determination, or as Jimmy’s friends say: stoodis (“let’s do this”).
  6. Killer Heat
    The twists and pedestrian dramatics are a stiff slog to get to, and Gordon-Levitt’s once innate charisma has vanished altogether here.
  7. The Wild Robot
    The movie is a dazzling triumph of animation in which you feel the filmmakers’ attention on every frame. In a revivifying turn away from the gag-a-minute, computer-generated extravaganzas clogging up the animated zoological canon, this is a work that cares most about two things: big feelings and great beauty.
  8. Saturday Night
    Saturday Night is a movie made by fans, but because Reitman assumes that his viewers are fans, too, and because he’s racing against the clock, he gestures at instead of digging into the show, its humor and history.
  9. Happy Clothes: A Film About Patricia Field
    There’s just a lot here. But with a subject like Field, the mild chaos feels pleasantly appropriate.
  10. A Different Man
    There’s some John Carpenter in this film, and some Woody Allen, and some John Cassavetes, and a healthy dose of Charlie Kaufman-style surreality. The result is shrewd, and fantastic, and something all its own.
  11. His Three Daughters
    Jacobs’s women are at once clinging to the past and looking toward the future. It’s the present that proves so extraordinarily difficult for them, a truth that Jacobs beautifully conveys in a movie that is very much about agonizing loss yet is also, fundamentally, about what it simply takes to keep on living.
  12. The Substance
    The sharpest critique isn’t about bodies, but about the way we’ve trained ourselves to look at those bodies, and the effect that has on our own. The movie is, appropriately enough, a mirror, and our discomfort reveals our own hidden biases and fears about ourselves.
  13. Transformers One
    Most palpable in its frames are the heart and genuine love for this universe, and when the bots start colliding, with action sequences toward the end that are thrillingly punchy, it’s easy to surrender to the lore.
  14. Wolfs
    The movie is a trifle, and it knows it. Mostly, though, Wolfs, written and directed by Jon Watts, is an excuse for its two leads to riff on their own personas, which can be faintly amusing and certainly watchable but also insufferably smug. It’s insufferable a lot.
  15. All Shall Be Well
    The film’s most extraordinary trick is how Pat’s presence hovers over the film. It is a feat of filmmaking and performance that a character only onscreen for a few scenes can feel truly missed by the audience. The home Pat and Angie built together aches with her absence, and so does the film.
  16. Eureka
    Ultimately, the film feels a bit misshapen.
  17. The Featherweight
    Kolodny handles his movie-as-documentary conceit with subtle flair and finesse. For a subgenre as crowded with movies as boxing has weight classes, The Featherweight isn’t a knockout. But it does land more than a glancing blow.
  18. Never Let Go
    Berry is drained of glamour for her role here, and she performs with fierceness; the two boys are also stalwart, but what the movie asks these child performers to do doesn’t add up to effective horror — it’s just opportunistic and gross.
  19. In the Summers
    Lacorazza’s deftness with actors, feel for the setting and aesthetic decisions — shooting in the snapshot-like 1.66-to-1 aspect ratio, or leaving the characters’ Spanish without subtitles — help the drama ring true.
  20. Sirocco and the Kingdom of the Winds
    The film’s many whimsies don’t detract from the resonant themes at the fable’s core, about the transformative qualities of grief and the indelible bond between sisters.
  21. Uglies
    McG has concocted a fantastical, glossily repellent digital landscape that glows with neon and constant fireworks, causing the film to feel at once too sincere and too artificial.
  22. The Killer's Game
    The action choreography is better than passable, although Perry adds grindhouse-movie levels of gore and dismemberment in a dubious effort to up the thrill quotient.
  23. My Old Ass
    It’s as much about reframing middle-aged regrets as it is a story about youth, love and possibility — and thus the emotional heft it wields is two-pronged.
  24. Speak No Evil
    Sleek and ever more unsettling, Speak No Evil is closely based on a far colder, downright nasty 2022 movie of the same title from the Danish director Christian Tafdrup. For the most part, Watkins adheres to the original’s overall design and trajectory while adding some new details and scenes; he also pads the running time an unnecessary 15 or so minutes.
  25. The 4:30 Movie
    Effort goes only so far, and The 4:30 Movie doesn’t surpass Smith’s usual limitations.
  26. The Critic
    Visually, The Critic is polished enough, despite some splashes of apparent digital lacquer. But Marber hasn’t supplied an incontrovertible motive to bind Nina to Jimmy. And there is something arguably troubling about the way McKellen’s character has been conceived.
  27. Matt and Mara
    Matt and Mara is less a movie than an idea for one. It doesn’t help that neither character is likable, or that the director and writer, Kazik Radwanski, fills the screen with close-ups in lieu of information.
  28. Girls Will Be Girls
    The screenplay suffers from some unevenness, but it never wavers in its empathy. It helps that Talati demonstrates a keen eye for composition.
  29. Winner
    A sweeping biopic that presents her as something like an American Girl doll for the “I’m not like other girls” set.
  30. Holding Back the Tide
    By the end, Holding Back the Tide feels like both an elegy and a prophecy, looking toward both past and future to imagine what kind of possibilities oysters represent.
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