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. Atlas
    Science fiction often earns its place in memory by envisioning something new and startling — but with Atlas, we’ve seen it all before.
  2. The Beach Boys
    Any deviations from the film’s obligatory timeline tour are very welcome, like a mortifying studio recording of Murry holding forth, and it’s a treat to hear the esteem for Brian among the Wrecking Crew, the storied group of session musicians.
  3. Solo
    Simon’s drag spectacles may be intentionally fierce and operatic, but there’s something refreshing about this drama’s intimate scale and lack of interest in sweeping tragedies, especially in the context of queer cinema.
  4. Queen of the Deuce
    The style is stilted, the look rudimentary, with Abhilasha Dewan’s cheeky animation supplying an occasional visual lift. Yet as Wilson’s former errand boy guides us around her onetime fiefdom — conjuring an area fizzing with smut until doused by Giuliani — we may sense the milieu, but its matriarch remains stubbornly indistinct.
  5. Sight
    All of this is laid out in competent commonplace fashion, with the principal actors Terry Chen, Greg Kinnear and the always welcome Fionnula Flanagan displaying the expected professionalism.
  6. The Garfield Movie
    It’s a Garfield movie that strangely doesn’t feel as if Garfield as we know him is really there at all.
  7. Kidnapped: The Abduction of Edgardo Mortara
    One gets the sense that the director, in not wanting to rob the adult Edgardo (Leonardo Maltese) of his agency, even if it was woefully compromised, resorts to a horror-inflected score and overdramatic scenes of parental anguish to make clear the devastating consequences of a child separated from his family. The heightened drama seems hardly necessary.
  8. Hit Man
    It’s radiant and loose and confident, the kind of movie that you can just tell was a blast to make, which makes it a blast to watch. As our overstuffed big-budget era starts to falter, let’s hope they start making movies like this again.
  9. Megalopolis
    In the end, what matters is the movie, a brash, often beautiful, sometimes clotted, nakedly personal testament. It’s a little nuts, but our movies could use more craziness, more passion, feeling and nerve. They could use a lot more of the love that Coppola has for cinema, which he continues to pry from the industry’s death grip by insisting that film is art.
  10. Film Geek
    I appreciate Shepard’s affection: I also grew up loving movies, and I found his wistful reminiscences of being awed by “Jaws” and “Star Wars” relatable. But Shepard’s level of self-regard can be stultifying.
  11. Coma
    Coma pushes the boundaries of the so-called lockdown movie with its thrilling, chaotic form.
  12. In Our Day
    As warm and wise as it is simple and languid.
  13. IF
    This is a film that spells out its intentions for an audience still learning its ABCs, a film where Michael Giacchino’s misty violins never stop insisting how to feel, where Krasinski’s goofy dad literally wears a heart on his chest.
  14. The Strangers: Chapter 1
    The hapless script — written by Alan R. Cohen and Alan Freedland and based on the original — offers nothing fresh in a tiring 91 minutes, and nothing daring to justify a new “Strangers” film, let alone a new series, especially when Bertino’s formidable film is streaming on Max.
  15. Furiosa: A Mad Max Saga
    Miller is such a wildly inventive filmmaker that it’s been easy to forget that he keeps making movies about the end of life as we know it. It’s a blast watching his characters fight over oil, water and women, yet while I’ve long thought of him as a great filmmaker it’s only with “Furiosa” that I now understand he’s also one kick-ass prophet of doom.
  16. Poolman
    Pine wisely avoids winks to the audience. But he whiffs at making the mystery especially gripping, leaving one instead to savor the moments, like a note-perfect Bening calmly talking Pine’s befuddled pool man through his latest setback.
  17. Power
    The point isn’t the data, but the spider-web nature of the argument; seemingly disparate things (labor strikes, slave patrols, the removal of Indigenous Americans from their land) are drawn together in “Power,” which becomes an act of pattern recognition. It is not easy viewing, but it’s a strong introduction to a topic that seems freshly relevant every day.
  18. Aisha
    “Aisha” resists tidy answers through the gentle force of its performances and by staying on the rebuffs and uncertainty Aisha suffers.
  19. A Prince
    That passion could bloom in such spontaneous and unexpected forms is part of this enigmatic film’s potency.
  20. AGGRO DR1FT
    Korine achieves what he set out to do, which is locate a strange liminal zone between avant-garde filmmaking and searing viewers’ faces with a frying pan.
  21. Gasoline Rainbow
    There’s an uncommon sweetness to this film, which is less about running away from something and more about discovering the road of life is littered with goodness, if you know where to look.
  22. Mother of the Bride
    Mother of the Bride is directed by Mark Waters (“Mean Girls”) with an apparent allergy to verisimilitude.
  23. Kingdom of the Planet of the Apes
    It probes how the act of co-opting idealisms and converting them to dogmas has occurred many times over. What’s more, it points directly at the immense danger of romanticizing the past, imagining that if we could only reclaim and reframe and resurrect history, our present problems would be solved.
  24. Unfrosted
    The jokes spill forth so fast that there’s no time for the shtick to get soggy.
  25. Evil Does Not Exist
    It’s far rarer when a movie, as this one does, speaks to everyday life and to the beauty of a world that we neglect even in the face of its calamitous loss.
  26. Wildcat
    Half-sketched and sometimes hard to follow, the stories glimpsed here ultimately fail to produce a fully legible or consistently engaging arc of what must be a roiling inner world.
  27. Catching Fire: The Story of Anita Pallenberg
    Pallenberg is finally in focus. But the picture is tough to look at.
  28. Jeanne du Barry
    Since Maïwenn created Jeanne for herself, it may seem paradoxical to state that she’s all wrong for it. Nevertheless, her broad performance is a consistently unfortunate case study in “whatever she thinks she’s doing, this isn’t it.”
  29. Slow
    Grineviciute and Cicenas, however, give depth to a story that becomes stuck on the sorrows of the couple’s discrepancies.
  30. Turtles All the Way Down
    What “Turtles” does offer in surplus is texture, thanks to Marks’s springy, stylish direction.
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