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. The Inner Cage
    The Inner Cage isn’t exactly a feast for the senses. Even so, if you’re in the mood to listen, the film’s careful conversations occasionally serve up food for thought.
  2. Freud's Last Session
    The look of Freud’s Last Session could make one doubt the presence of a cinematographer.
  3. Migration
    In the end, Migration moves along at jet speed while often feeling labored.
  4. The Iron Claw
    There’s pleasure and meaning in the sons’ roughhousing and camaraderie, as well as beauty, heat and melancholy in their heartbreakingly fleeting physical perfection. Yet as the story’s uglier side emerges, Durkin hedges.
  5. Rebel Moon Part 1: A Child of Fire
    Boutella is a pleasingly game and lithesome heroine, but the movie around her feels curiously indifferent, a crammed, compressed delivery system for its maker’s dorm-room dreams.
  6. All of Us Strangers
    Haigh is a tremendously lyrical filmmaker, and All of Us Strangers unfolds in a space that seems like a dream, or a hallucination, pulsing with the rippling soul rush of love turning a life from monochrome to full color.
  7. Anyone But You
    Sweeney and Powell could do wonders with a better script, something that makes more use of the way they grin at each other like they ate knives for lunch. She’s skilled at layered insincerity; he specializes in smirky, put-on machismo, shooting the camera a horrifically funny tongue waggle.
  8. The Color Purple
    For the first two hours, it’s absorbing: big song-and-dance numbers and emotional set pieces, dynamic performances from everyone, and a feeling of reverence for the story and what it’s meant for 40 years give it gravitas and heart. . . Yet by the end it’s clear that the story remains slippery to would-be adapters.
  9. The Family Plan
    This is pretty routine material, but it’s been realized with charm and enthusiasm: The director, Simon Cellan Jones, maintains a good handle on the comic-thriller tone and shoots the action with wit and creativity.
  10. The Zone of Interest
    All that is clear from what’s onscreen is Glazer has made a hollow, self-aggrandizing art-film exercise set in Auschwitz during the Holocaust.
  11. Chicken Run: Dawn of the Nugget
    When the source material was so fun, the cover is bound to be enjoyable, and this one is, even if it sags a little around the two-thirds mark. There’s punning, and contraptions, and ducks that shoot lasers out of their eyes. It’s a good time.
  12. American Fiction
    To make good on his movie’s message, Jefferson is determined to give space to the moments of Monk’s life that don’t hinge on race at all.
  13. Immediate Family
    Tedesco is the son of the West Coast guitar great Tommy Tedesco, and he clearly has a knack for getting musicians to open up. The band members.
  14. Wonka
    The movie is overly busy, as these kinds of eager-to-please diversions tend to be, and at two hours it overstays its welcome.
  15. Kevin Hart & Chris Rock: Headliners Only
    The film (which feels more like a commercial than a documentary) works best as a behind the scenes hang with an odd couple.
  16. Into the Weeds
    The movie makes clear just how difficult it is for one person to take on a corporation that has vast resources, dexterity in countering evidence and — the film argues — unfairly easy access to regulators.
  17. Total Trust
    Total Trust is not a chronicle of how circumstances can go from a simmer to a boil, but rather a moment’s temperature check.
  18. Wish You Were Here
    Wish You Were Here has a quaint, inviting period look - the year is 1951, the setting a British coastal village - and a cast that's well attuned to Mr. Leland's brand of cleverness.
  19. Concrete Utopia
    Smoothly shaping familiar genre tropes into a brutal study of class warfare and the stifling of pity, the director, Um Tae-hwa (who wrote the script with Lee Shin-ji), makes human kindness the first casualty of social disorder.
  20. Waitress: The Musical
    This is Bareilles’s show in every way. While she doesn’t quite match the emotional subtlety of Jessie Mueller, who originated Jenna, she has grown in leaps and bounds as an actress and provides a warm anchor for the movie.
  21. Our Son
    A simple yet engaging melodrama.
  22. Poor Things
    It isn’t long into Poor Things that you start to feel as if you were being bullied into admiring a movie that’s so deeply self-satisfied there really isn’t room for the two of you.
  23. The Archies
    It’s an extravagant stunt perked up by moments of absurdity.
  24. Anselm
    A film like Anselm is another level of preservation as well as a contemplative experience, in which the past and the future meet, in a way we can feel as much as see.
  25. Origin
    It is a great big swing about taking a great big swing, and while the film is more persuasive as a drama than the argument it relays, few American movies this year reach so high so boldly.
  26. Leave the World Behind
    After a while, the movie plays like a bulleted list of everything wrong with America — fair enough — but hurled so relentlessly at the audience that you can only assume the goal is for anyone watching the movie to find something they agree with. In the onslaught, the narrative tension dulls into passivity, both for us and for the characters.
  27. Werner Herzog - Radical Dreamer
    The movie also provides a smart primer on the “New German Cinema” Herzog helped bring into being during the 1960s.
  28. Renaissance: A Film by Beyoncé
    I don’t know if it’s entirely possible to be supremely conscious of one’s self and yet be vividly unselfconscious, but that’s where Beyoncé finds herself.
  29. Bad Press
    Landsberry-Baker and Peeler could linger more on details about the people involved instead of the horse-race suspense of vote counts. But who can blame them when freedom is in the balance, and as local media outlets dwindle nationally.
  30. Who We Become
    The issues explored in Who We Become are essential, but the film’s content can occasionally feel superficial.
Page:

Top Trailers

See all »
See all trailers »