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. Blink Twice
    Blink Twice is haunted by lost opportunities. As a woman and survivor, Frida feels ignored. But Kravitz leaves the erasure that Black women feel untapped.
  2. Caligula: The Ultimate Cut
    The great production designer Danilo Donati’s contributions alone are worth the trip.
  3. Close to You
    As attentive as Close to You is to family dynamics, its dialogue, which the actors largely improvised, rarely achieves verisimilitude.
  4. In the Rearview
    The van’s familiar interior has a way of underlining how many other millions across history have had to escape military aggression. Hamela’s work as driver and documentarian reflects that reality while offering a spirit of resilience.
  5. The Greatest Surf Movie in the Universe
    A spectacularly inane comedy.
  6. The Good Half
    Snow, as the daughter who always played second fiddle, brings real feeling to her role — suggesting that she may in fact be the good half of this insipid drama.
  7. The Union
    The gimmick is that The Union, in addition to being an action film, is also a sort of comedy of remarriage for Roxanne and Mike, except that the screenwriters, Joe Barton and David Guggenheim, haven’t brought much in the way of levity to the relationship. Nor have they applied much ingenuity to the big set pieces.
  8. Red Island
    Red Island is by turns seductively sultry and frustratingly elliptical, with a structure that brings to mind matryoshka dolls, those colorful nesting figurines of differing sizes. For the most part, Campillo introduces these nesting elements just fine; it’s integrating them that proves difficult.
  9. Jackpot!
    Directed by Paul Feig from a screenplay by Rob Yescombe, the movie sustains an admirably zany energy, though its jokes often feel underwritten. (“You can’t just steal people’s panic rooms. What are you, Jodie Foster?”) Worse, though, it seems intent on mixing its metaphors.
  10. Alien: Romulus
    Alien: Romulus is a nuts-and-bolts action-adventure horror story with boos and splatter. It doesn’t have much on its mind but it has some good jump scares along with a disappointingly bland heroine, a sympathetic android and the usual collection of disposable characters who are unduly killed by slavering, rampaging extraterrestrials.
  11. Sugarcane
    For one, it’s immersive and incredibly beautiful, shot like poetry and scored by Mali Obomsawin. The result is both stunning and sobering.
  12. Good One
    Good One is the writer and director India Donaldson’s feature debut, and an astounding one, full of the kind of emotional detail that can only come from personal experience.
  13. It Ends with Us
    Adapted from Colleen Hoover’s best seller by Christy Hall, “It Ends With Us” is fitfully diverting, at times touching, often ridiculous and, at 2 hours and 10 minutes, almost offensively long.
  14. The Instigators
    So if the plot of “The Instigators” kind of goes nowhere, its characters give it the feel of a hangout movie with some added shootouts and car chases and a few well-timed explosions. And that, at least, is wicked good.
  15. Girl You Know It's True
    Viewers who press play with intent to scoff may be surprised with how genuinely caught up they become.
  16. Dance First
    The movie, written by Neil Forsyth, was surely intended as a tribute, but it plays more like an effort to reduce Beckett to easily comprehensible terms — the sort of terms he most likely would have resisted.
  17. Cuckoo
    All this gives “Cuckoo” a strange, lusty vigor that’s hugely entertaining.
  18. Borderlands
    You can see the jokes, but most of them don’t land. Still, there is some neat design work if you squint.
  19. Elizabeth Taylor: The Lost Tapes
    It’s not just a fascinating glimpse into a woman who spent her whole life in the spotlight. It’s a chronicle of a moment when everything changed, and a sobering reminder that we often think we know who public figures are, but we rarely really understand.
  20. Trap
    The bigger the scope and the more Cooper’s psychology is explained, the less taut the film feels.
  21. Sebastian
    While sex drives Sebastian, the movie is stuck in foreplay mode.
  22. Coup!
    This implication that virility trumps effeteness is, amid an otherwise straightforward comedy, an uncomfortably regressive way to tell the story of how people vie for power in hard times.
  23. Kneecap
    The film, as a result, feels wildly uneven, though it cruises on the strength of its underdog narrative and its weird, sordid touches.
  24. Peak Season
    A lovely ending makes up for the filmmakers’ giving this triangle one blunt side.
  25. Harold and the Purple Crayon
    The movie plods around awkwardly, trying to leech whatever charm it can from the remaining elements of the original.
  26. Rob Peace
    All told, the movie delivers a well-earned emotional gut punch that refreshingly does not come from perpetuating the physical and systemic violence it aims to shed light upon.
  27. War Game
    The first time I saw War Game, it shook me up; the second time, my visceral response was tempered by a skepticism about power that the movie doesn’t invite.
  28. Swan Song
    The story here is about more than just the ballet: It’s about the people who are stepping into the spotlight.
  29. Cirque du Soleil: Without a Net
    Porter’s inquisitive camera gives the viewer enticing detail on how everything comes together — for instance, unbeknown to the audience, the pool is constantly monitored by rescue divers in scuba gear who also serve as prop people — while holding in suitable awe the actual magic all this work eventually yields.
  30. The Fabulous Four
    This is sloppier and more personality-driven than [Moorhouse's] past work, but the performances are so shamelessly exuberant that, after a while, you simply throw up your hands at the flaws.
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