The New York Times' Scores

Select another publication »
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
view
per page
  1. Rhinegold
    Mixing war movie, coming-of-age drama and gangster thriller, Akin and Hajabi’s screenplay is a dispiriting brew of repellent behavior and odious rap lyrics.
  2. Only the River Flows
    The filmmaker has a gift for disorientation — a chilling cut connects a scene of a pregnancy ultrasound to Ma Zhe flipping through slides of murder evidence — that partly compensates for the muddiness of the plot.
  3. Dìdi
    You get the sense watching Didi that this is a bit of an apology from Wang to his own mother for not seeing her as a real person when he was young. But that isn’t all it is: It’s a funny, heartfelt movie, tapping into the audience’s latent memories as well as our great relief at no longer being 13.
  4. Deadpool & Wolverine
    Deadpool & Wolverine is a “Deadpool” movie, which means it’s rude and irreverent, funny and disgusting, weird and a little sweet. Reynolds and Jackman are fun to watch, in part because their on-screen characters contrast so violently with their nice guy personas off screen.
  5. Find Me Falling
    The writer-director Stelana Kliris is undaunted by, though not entirely in control of, balancing her material’s at times somber, at other times blithe, notes.
  6. Great Absence
    In the end, Great Absence contains the grace that arises from a great struggle.
  7. Hollywoodgate
    The frustration of Hollywoodgate is that it could only ever feel incomplete.
  8. Oddity
    Coolly executed and seductively simple, Oddity, the second feature from Damian McCarthy (after the unsettling, underseen “Caveat” in 2021), is a fun, back-to-basics supernatural thriller that cares more about making us jump than making us cringe.
  9. Join or Die
    Throughout, the film unabashedly adopts Putnam’s doctrine: Become a joiner or democracy is doomed. Some of the film’s points feel simplistic, and questions linger.
  10. Widow Clicquot
    Ambitious as it is in scope, the film is also somewhat charmless and dour, caught between wanting to deliver the passion audiences expect from a period romance and constructing a suspenseful underdog tale. It’s too bad it never finds a winning balance.
  11. Crumb Catcher
    It’s an aspirationally farcical home invasion thriller that never fully thrills, despite a game cast that does its darnedest to liven up an unfocused script — Skotchdopole wrote and edited his film, too — that’s fashioned from genre odds and ends.
  12. Crossing
    In this town, in this movie, you feel absolutely certain each face has its own fascinating story to tell.
  13. Twisters
    It’s loaded with fun and sometimes funny set pieces and enough danger to keep you on your toes.
  14. My Spy: The Eternal City
    Too often this muddled movie, which never really settles on a tone, plays its espionage plot points with a dour seriousness that’s at odds with a teen comedy.
  15. Twice Colonized
    Much like its heroine, Twice Colonized is a storm of emotion and conviction.
  16. Touch
    Touch rekindles a treacly genre that I didn’t realize I missed. Its tender performances and gut-punch reveals are classic tear-jerker ingredients. Add to this a natural, inordinately sensitive approach to intercultural love — mercifully, without a sense of righteousness or obligation.
  17. Sorry/Not Sorry
    An earnest and frustrating documentary.
  18. Fly Me to the Moon
    As the movie progresses, its story grows convoluted and belabored.
  19. Dandelion
    In the end, Dandelion feels like one artist’s emotional prequel, leaving us wishing for even more.
  20. The Convert
    The real star of this Kiwi western is the setting. The lush forests and stark, black sand beaches, shot in locations near those used in “The Piano,” help make The Convert more than a message movie.
  21. Sing Sing
    The cinematography (by Pat Scola) does its own cagey and elegant work, giving Sing Sing an undercurrent shine while evoking the rougher intimacy of a documentary. The movie’s casting — more than 85 percent of the cast participated in Sing Sing’s R.T.A. program — achieves something similar.
  22. Eno
    There’s a pure joy to this documentary, a sense that creativity is miraculous and we ought to be grateful that we get to participate in it. I left both screenings full of ideas for my own work.
  23. Longlegs
    As chilling and stylish as it is, Longlegs is a frustrating pleasure.
  24. Mother, Couch
    Burstyn’s character, which the actor plays with her customary expertise, is so utterly disagreeable that viewing the picture is a mostly anxious experience with not much of a reward at the end, which shifts to magic realist mode for lack of anywhere better to go.
  25. The Imaginary
    The movie falters periodically under the weight of its own dream logic, which can be hard to follow or flimsily constructed as the story gains momentum. But it’s mostly easy to move past those flaws in a work of such rich magical realism and heart.
  26. Kill
    Manipulative to the max (one upsetting murder is almost pornographically protracted), Kill is dizzyingly impressive and punishingly vicious.
  27. MaXXXine
    Darker, moodier and altogether nastier than its predecessors — “X” (2022) and, later that same year, “Pearl” — this hyperconfident feature is also funny, occasionally wistful and deeply empathetic toward its damaged, driven heroine.
  28. Despicable Me 4
    There’s still occasional fun to be had and a budget that’s clearly put to use, but we’re mostly here, it seems, to keep the Minion cash cow chugging along.
  29. Space Cadet
    The jokes feel tired. The actors are mostly doing their best, but the screenplay too often leaves them mimicking comedy rather than performing it.
  30. This Closeness
    The film’s stripped-down aesthetic is mirrored in the actors’ performances; they deliver straightforward lines with a hint of self-consciousness and discomfort, even between friends and lovers. It’s as if the closeness is projected through a scrim, which creates a kind of purposeful clumsiness the audience can feel, too. When actual physical contact occurs, it’s almost jarring.
Page:

Top Trailers

See all »
See all trailers »