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 Old Oak
    In place of magical thinking and a happy ending, The Old Oak serves up something harder: a meditation on hope.
  2. Girls State
    Girls State endears, but it also leaves viewers with the sense that, for a film about young women eager to take on the world’s challenges, the movie could stand to tackle a few more.
  3. Chicken for Linda!
    For all its playful color-block hues and deceptively casual illustrations, the movie delivers a sharp mix of pathos and humor.
  4. The Beast
    This shamelessly ambitious epic is about, among other things, civilizational collapse and existential retribution, yet it is held together by something delicate.
  5. Kim's Video
    Kim’s Video, co-directed by David Redmon and Ashley Sabin and narrated by Redmon, is less a retail history than a shaggy dog story. One that actually appears to be true. Go in knowing that and you might get a kick out of it.
  6. The People's Joker
    It’s aggressively self-indulgent, cinematically topsy-turvy and exhausting. It’s also singular, daring and an uncompromising cannonball into the queer cinema pool.
  7. Yannick
    Dupieux’s fans will be happy to know that his surreal humor is gloriously intact, while newcomers might find in this movie a gateway into one of contemporary cinema’s most idiosyncratic universes.
  8. Monkey Man
    Patel does some fine work in Monkey Man even if its fight sequences rarely pop, flow or impress; they’re energetic but uninspired.
  9. Coup de Chance
    Coup de Chance is more sketched-in than satisfyingly detailed. Most of the characters are types, and despite some local color, the story might as well play out in New York, but it’s amusing, technically adept and looks like a professionally made movie (no small thing in the streaming age).
  10. The First Omen
    The film revels in mashing up familiar genres: the monster movie, body horror and the Gothic church thriller. But it injects a revitalizing juice into the franchise — smartly edited and well paced, with a good cinematic eye.
  11. Scoop
    What Scoop offers is the modest pleasure — to which any journalist is susceptible — of rooting for a reporting team to get a story.
  12. The Listener
    For their part, Buscemi and Thompson utilize the complementary power of stillness and the close-up to create a portrait of a woman who hears so much and divulges so little.
  13. Wicked Little Letters
    The movie is full of goofy side characters and one-liners, yet elevated occasionally to genuine complexity by Colman and Buckley, who are consistently the best thing about any movie they’re in.
  14. Asphalt City
    This jittery drama wants viewers to appreciate the unique burdens facing emergency medical workers. Its approach to achieving this goal, however, involves a profusion of overly literal allusions to the paramedics as arbiters of life and death.
  15. The Beautiful Game
    The Beautiful Game is a model of a modern “nice” movie.
  16. Lousy Carter
    Between the hammering misanthropy, the herky-jerky editing and almost defiantly crummy sound mix, this exasperating film keeps you enjoyably off-balance.
  17. DogMan
    The strangest, possibly silliest movie of the veteran director’s idiosyncratic career. It is also borderline brilliant.
  18. On the Adamant
    That Philibert doesn’t stick to a “main character,” or impose a phony narrative arc, vibes well with the facility’s free-spirited methods, even if the documentary lacks the drama of a more structured production.
  19. La Chimera
    Rohrwacher’s digressive storytelling can make La Chimera seem unstructured, but she’s going where she wants to go and at her own pace. She likes detours, lived-in (nonplastic) faces and the kind of revelatory details that might go unnoticed, if she didn’t direct your gaze at them.
  20. Godzilla x Kong: The New Empire
    The best stretches involve Kong lumbering through the landscape, Godzilla stomping around crushing things, and of course the inevitable final confrontation, which has a few surprises up its proverbial sleeves.
  21. The Truth vs. Alex Jones
    The Truth vs. Alex Jones offers a lesson in just how vicious and pervasive conspiracy theories can become and a chilling portrait of how little they may trouble their purveyors.
  22. Art Talent Show
    Art Talent Show is itself provocative but also hilarious, both a sendup and a tribute to the complexity of contemporary art.
  23. Do Not Expect Too Much From the End of the World
    The movie is overflowing with ideas — about history, capitalism, cinema, representation — but it also tests your patience before amply rewarding it.
  24. Road House
    Though two hours long, the movie moves as swiftly as a greased ferret through a Habitrail and delivers hallucinatory action highs for its extended climax.
  25. Shirley
    King is magnetic onscreen, nailing Chisholm’s accent and her steely persona. But there is little for her to do other than trade quips with the other characters, in a drama that is too content with telling rather than showing.
  26. Free Time
    Burgess carries this succinct (and arguably slight, narratively disjointed) comedy without making you want to strangle his often willfully naïve character.
  27. Femme
    The film avoids a cut-and-dried triumphalism for something more slippery and, perhaps, more meaningful, too.
  28. William Shatner: You Can Call Me Bill
    "You Can Call Me Bill" is fundamentally a case of an actor presenting himself as he wants to be seen.
  29. Riddle of Fire
    Razooli wants us to see the fantastical narratives children conjure to manage real-world uncertainties, but his vision lacks focus.
  30. Limbo
    Sen, who also handled both the black-and-white cinematography and the editing, has a terrific eye for shot composition and sets a deliberate pace that feels implacable rather than merely slow.
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