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. Molli and Max in the Future
    Science fiction has become such a mainstay of lumbering franchises that it’s hard not to root for left-field small-scale twists on the genre like the fizzy, funny Molli and Max in the Future.
  2. The Monk and the Gun
    However sincere and justified, the digs are so innocuous that their main purpose seems to flatter Western viewers who will nod along as they coo at the landscapes and chuckle knowingly about ugly truths they think have nothing to do with them, but do.
  3. Lover, Stalker, Killer
    True-crime doc watchers who are in committed relationships may see Lover, Stalker, Killer, a bracing account of a lurid series of misdeeds directed by Sam Hobkinson, and breathe a sigh of relief over being out of the dating pool.
  4. Marmalade
    In essence, Marmalade pretends to be more dunderheaded than it is, then acts as if it’s been smart all along, in a shift that takes it from insulting to incoherent.
  5. Out of Darkness
    Unfolding entirely in a fictional language (which the actors deliver with fluid conviction), and enriched by lovingly rendered practical effects, this first feature from Andrew Cumming pairs its minimalist narrative with the maximum of atmosphere.
  6. Drift
    Drift, a patient character study set on a craggy Greek island, proves a mesmerizing showcase for the actress Cynthia Erivo’s talents.
  7. Cobweb
    Cobweb, directed by Kim Jee-woon, mines the comically absurd reality that is filmmaking, at times with bouncy cinematic verve, at others somewhat aimlessly and a little too indulgently.
  8. They Called Him Mostly Harmless
    It’s a film for those who don’t know the outcome, playing upon the viewers’ thirst for answers as it chips away at a clearer portrait of the man.
  9. Here
    In this painstakingly muted, luminously photographed testimony to connection, nothing much and everything happens — or could.
  10. Perfect Days
    Pay attention to the shadows in Perfect Days. Pay attention also to the trees, to the ways Hirayama (Koji Yakusho) looks at them. They’re as much a character in the story as he is.
  11. The Promised Land
    It has sweep, romance, violence and spectacle, but what makes it finally work as well as it does is that it largely avoids the ennobling clichés that turn characters into ideals and movies into exercises in spurious nostalgia — well, that and Mads Mikkelsen.
  12. Bushman
    The jarring switch to documentary gives Bushman its added charge.
  13. She Is Conann
    It’s more of a fever dream than an actual story, offering a queer counternarrative to the macho vision of the legendary warrior that is as hypnotic as it is gnarly.
  14. Dario Argento Panico
    Part career profile and part psychological exploration, “Panico” smoothly accomplishes the first but teases gold with the second.
  15. Skin Deep
    What does love really mean? Skin Deep gives an answer: that real love is an act of radical imagination, of working to understand what it feels like to be another person. In reality, we can’t just swap bodies to find out — but love beckons us to try anyhow.
  16. Disco Boy
    Disco Boy is a lean but sweepingly ambitious film crafted with formal rigor.
  17. Fitting In
    Its revelations about gender, sexuality and identity tend toward the obvious, and sometimes veer into the facile.
  18. How to Have Sex
    Manning Walker sets the scene and stakes well enough, though after the millionth drink and shriek, whatever contact high you have is obliterated by a contact hangover. The largest problem, though, is that Manning Walker seems weirdly insensitive toward Tara, who endures a trauma that’s meant to say something about something — sex, consent, friendship — but mostly just gives the story some queasy heft.
  19. Argylle
    It is ostensibly a tribute to spy movies of an earlier age, not clever enough to be a spoof and certainly not satire. But a homage shows affection for, understanding of and respect toward the thing it is honoring. Argylle feels pasted together by a robot manipulating some kind of spy Magnetic Poetry.
  20. The Greatest Night in Pop
    While the making of the song was partially detailed in its long-form video, there’s plenty of new, engaging, and sometimes eyebrow-raising anecdotal material here.
  21. Sometimes I Think About Dying
    A movie like this one, reserved and a little mysterious, can be unnerving. Occasionally it feels as if Sometimes I Think About Dying is a bit too withholding, dragging down the story it has to tell. But there’s a lot here to like.
  22. Tótem
    Totem is a coming into consciousness story about a child navigating realms — human and animal, spiritual and material — that exist around her like overlapping concentric circles. Yet even as the story’s focus sharpens, what matters here are the characters: their emotions and worried words, how they hold it together and fall apart, their individual habits and shared habitat.
  23. American Star
    Despite an oddball taste for wide-angle lenses, the director, Gonzalo López-Gallego, can sustain a solid slow burn. Still, neither McShane nor the scenery can take the rust off the basic scenario.
  24. The Peasants
    As the story’s melodrama grows repetitive, so do the visuals.
  25. Lil Nas X: Long Live Montero
    The scenes are assembled like the wall collage of pop stars that we see in his otherwise empty bedroom, resulting in frustrating interview segments that are both broad and cursory.
  26. Mambar Pierrette
    Mbakam hits a remarkable balance. The sociopolitical truths that make up Pierrette’s losing streak are evident, without the miserable patronizing so common in films about struggle in Africa.
  27. Pictures of Ghosts
    Love suffuses Pictures of Ghosts, a cleareyed, deeply personal and formally inspired rumination on life, death, family, movies and those complicated, invariably haunted places we call home.
  28. Miller's Girl
    A work of glaring artifice, Miller’s Girl, written and directed by Jade Halley Bartlett, is being touted as a psychological thriller, but it’s too vapid and silly to do much besides titillate.
  29. The Underdoggs
    The kids in the film are simply too young to make an impact, and Snoop, who is fine enough as an actor, ultimately doesn’t possess the charisma necessary to elevate a lazy script.
  30. The Kitchen
    The direction, by Kibwe Tavares and Daniel Kaluuya, is sure and unfussy, spinning a warmly humane story of cross-generational connection.
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