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. Late Night with the Devil
    The result is a nasty and delicious, unapologetic pastiche with a flair for menace. I had a blast.
  2. Immaculate
    Immaculate doesn’t try to reinvent anything but instead cheerfully embraces the familiar, which is part of what makes the movie enjoyable.
  3. Ghostbusters: Frozen Empire
    “Frozen Empire” is an eclectic, enjoyable barrage of nonsense.
  4. Stormy
    After so much media coverage, certain details of the events feel overly familiar. But the director, Sarah Gibson, is often able to put the episodes into fresh contexts.
  5. The American Society of Magical Negroes
    Even as the movie is lampooning one trope, it keeps taking refuge in other conventions in ways that undercut the pop of its premise and make one wish for greater depth to its thought experiments.
  6. Irish Wish
    The movie (directed by Janeen Damian and written by Kirsten Hansen) skips over Maddie savoring the outcome of her wish, and shifts right into charming comedy around her confusion, including having no memory about how she got engaged.
  7. One Life
    In trying to capture this almost stoic modesty, the film, directed by James Hawes, falls into a dramaturgical trap.
  8. Ryuichi Sakamoto | Opus
    For the fan, it’s an intensely moving experience. But even for the viewer without much knowledge of Sakamoto’s work, “Opus” holds its own as the rare cinematic space for contemplation.
  9. The Shadowless Tower
    This movie opens itself to you with its feeling for people, its grace notes and a few bravura moments that close the distance between characters beautifully.
  10. The Animal Kingdom
    Narrative ambiguity can be fruitful but also a cop-out, as too many would-be art films tediously demonstrate. Here, though, the movie’s vagueness dovetails with both François’s and especially Émile’s confusion, and importantly, it also serves as a counterpoint to their unshakable love for Lana.
  11. Arthur the King
    Wahlberg and company manage to hold your attention, and not just because there’s a cute dog in the frame.
  12. French Girl
    French Girl is a love triangle farce that’s mostly set in Quebec City but takes place on Planet Rom-com where bipedal characters act out in ways that rarely resemble human behavior.
  13. Knox Goes Away
    Knox Goes Away” is, like its antihero, smart, unconventional and almost obsessively careful. Its unhurried pacing and mood of quiet deliberation won’t be for everyone; but this low-key thriller resolves its shockingly high stakes with a twisty intelligence.
  14. Snack Shack
    With its rambling momentum and quick-witted, almost musical dialogue, it feels less like “Superbad” than a Robert Altman movie, sort of like a pint-size “California Split.”
  15. The Tuba Thieves
    Its connective tissue is an idea, an exploration, and it’s designed to be more absorbed than understood. But for the patient audience, it’s richly illuminating.
  16. Imaginary
    Fans typically expect well-executed jump scares, fun plot twists and the occasional rubbery monster. What they probably don’t expect is the sophisticated allegory that Imaginary appears to be flirting with — and comes close to pulling off — before losing its nerve.
  17. Damsel
    Damsel is evidence that studios still don’t realize that a “strong female lead” is not enough to make a movie good. More is required: a strong set of supporting characters, a strong plot, a strong sense of what makes a movie interesting to an audience.
  18. Glitter & Doom
    This is not a deep movie. A lot of it isn’t even good. The images and story are chaotically assembled. The arrangements bring the music too naggingly close to the rounded, boppy, angsty gleam of certain 21st-century stage musicals . . . Even so, the people who’ve made this thing understand what the Indigo Girls are all about.
  19. Space: The Longest Goodbye
    Space: The Longest Goodbye leaves open the question of whether anyone could get to the red planet with his or her sanity intact.
  20. Cabrini
    It’s inspiring stuff, rendered stodgy and repetitive.
  21. High & Low: John Galliano
    The director Kevin Macdonald asks Galliano questions in “High & Low,” but the answers are largely self-serving and unsatisfying in a movie that, for the most part, plays like yet another installment in a highly publicized redemption narrative.
  22. Love Lies Bleeding
    In Love Lies Bleeding, Glass borrows liberally but not mindlessly. Instead, she takes familiar themes and more than a few clichés — romantic doom, family trauma — and playfully bends them to her purposes.
  23. Kung Fu Panda 4
    Once again starring Jack Black as the gullible martial arts master Po, the animated film melds together wisecracking comedy and sprightly action sequences with a message of kindness, inner peace and self-discovery.
  24. Ricky Stanicky
    While the high jinks are too haphazard to give him a credible — or heck, even coherent — character arc, Cena is here and there able to seize moments to show us the fissures in his layered personas, a fragile construction of confidence, ego, vulnerability and need.
  25. Code 8: Part II
    In the end, even genre fans with relaxed standards might try to similarly rebel against this insipid offering.
  26. Outlaw Posse
    In direct conversation with cinema’s many spaghetti westerns, Van Peebles’s shaggy script relies on winking nods and plentiful shootouts in lieu of production value. Outlaw Posse may not be innovative, but its regard for family affairs is worth treasuring.
  27. Spaceman
    Spaceman is neither particularly astute about human nature nor discernibly interested in the politics embedded in it, and it is not even meme-ably bad, which is a shame. So much wasted potential.
  28. Problemista
    Problemista, which Torres wrote, directed and stars in, reveals a new willingness to tell a relatable story with a riveting sketch of an honest-to-goodness person.
  29. Shayda
    In her first narrative feature, Niasari, who based the story in part on her own experiences, demonstrates an astounding control of pacing and mood.
  30. Amelia's Children
    A hilariously awful collision of soap opera and horror movie, Amelia’s Children teeters so precariously on the cliff top of comedy that one wishes the director, Gabriel Abrantes, had dared to kick it over the edge.
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