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 Marsh King's Daughter
    A game Ridley, along with a brief cameo by a soulful Gil Birmingham, provides the necessary stakes for Burger’s film not to idle in narrative mud.
  2. All Dirt Roads Taste of Salt
    Exquisite use of close-ups, fluid editing and a deeply observant sound design renders Mack’s story tactile but also poetic, making plain that the salt here is the stuff of tears, the stuff of sorrows and of joys.
  3. Wingwomen
    The Frenchwomen twist on the supersquad action movie has its charms, but it’s not enough to eclipse the script’s uninspired angles.
  4. Colette and Justin
    The result is a film both intimate and political; informative and profound. It highlights the deep and far-reaching wounds of colonization and offers a balm for its scars.
  5. Last Stop Larrimah
    The bloat saps the fun and intrigue from the film, which can’t navigate between playing up eccentricity and committing to the notion that hell can be other people (even in a one-time refuge).
  6. No Accident
    Jacobson’s account does the necessary work of restating the facts and showing that people can be held accountable for fomenting this kind of terror and harm.
  7. The Insurrectionist Next Door
    In the end, as a document, it’s undeniable: The unvarnished human detail gives the film a life of its own that escapes any particular polemic or hope.
  8. The Devil on Trial
    Instead of challenging assumptions, exploring implications or discussing the difficult questions here, Holt merely mines the material for superficial shock value and lurid titillation.
  9. Five Nights at Freddy's
    You may chuckle, but it’s hard to tell if the movie is laughing with you.
  10. After Death
    Whether you believe these phenomena are spiritual journeys or visions created by the human mind (or both), the film loses its sense of epiphany in the lackluster jumble of its moviemaking.
  11. Yellow Door: '90s Lo-fi Film Club
    The doc mostly amounts to a sweet nostalgia trip about a niche group of obsessive young people. It’s also an ode to young adulthood itself: For most of the group, latching on to cinema was simply a means of finding a community, and themselves.
  12. Deep Rising
    The optimism here resides in the filmmaker’s trusting his audience to grapple with the entwined fates of the seafloor, its inhabitants and humankind.
  13. Pain Hustlers
    The movie is constrained by its own conscience.
  14. Four Daughters
    The re-enactments map out the family’s tension and lay bare their wounds, but the lost daughters remain cyphers — the appeal of radicalization frustratingly murky through the end.
  15. Inspector Sun
    While sometimes grating, the film is always appealing, with pleasing details, down to its Art Deco end titles.
  16. The Holdovers
    There’s a sharpness to the comedy, some attitude and freshness, some wisdom. That maybe comes, in part, from the kids looking a little older than their characters are. It also comes from Payne’s emotional finesse.
  17. Priscilla
    Die-hard Elvis fans will no doubt call some of the characterization in Priscilla slander, but part of the achievement here is that Elvis is not simply a monster. Fame has merely given him the superpower of not having to pay attention to anyone else.
  18. Milli Vanilli
    The performers Fab Morvan and Rob Pilatus earn your empathy in the documentary Milli Vanilli, a jolting, eye-opening investigation on how fame destroyed them. The war-of-words film, directed by Luke Korem, unfolds like a whodunit.
  19. Old Dads
    Burr is skilled at this, for sure. And Woodbine and Cannavale, who are better actors overall, slide into Burr’s mode with ease. The results will prove satisfactory and maybe cathartic for his fans.
  20. To Kill a Tiger
    Kiran and her family are heroes, but this isn’t a simple tale of heroism. The film lays bare the uneasy and inadequate avenues available to survivors seeking justice.
  21. The Delinquents
    The Delinquents wants to live modestly. It’s less concerned with satisfying the expectations of its genre than in finding waggish ways to deviate from them. To the film’s thinking, narrative is only a construct.
  22. In My Mother's Skin
    True to classic folklore, this is a story that delivers fantasy and queasiness in equal measure.
  23. Divinity
    A misbegotten blend of the futuristic and the antiquated, “Divinity” is an unintentionally comical sci-fi diatribe obsessed with beautiful bodies, bickering brothers and biblical symbolism.
  24. Waiting for the Light to Change
    In her feature debut, Tran is intermittently successful at capturing the listlessness that defines that liminal space between adolescence and adulthood; as “Waiting” progresses, malaise envelops her characters like the gray fog over the shoreline.
  25. Silver Dollar Road
    Amid the looming threats to a cherished home, Peck’s accomplishment is to let the Reels family own their emotional space.
  26. Another Body
    Another Body is most persuasive when experts weigh in on the reality-upending aspects of deepfake technology and image-based sex abuse.
  27. The Persian Version
    The result is a personal film that feels oddly impersonal. The tonal clutter overwhelms Keshavarz’s genuinely interesting story.
  28. The Pigeon Tunnel
    Intellectually rich and cinematically disciplined (brief movie clips, another perfectly aligned Philip Glass score), The Pigeon Tunnel is a cautious, playful portrait of an expert manipulator.
  29. Butcher's Crossing
    It’s a mostly well-crafted film with decent visual scope. The film’s greatest flaws are in Cage’s shakily written character.
  30. Taylor Swift: The Eras Tour
    It’s a shame that the shots here are all over the place — the stage, the sky, too close, too far, too kinetic; only occasionally, in medium close-ups, just right. The director is Sam Wrench, and it’s unclear whether he’s making a movie or a salad. Under the circumstances, he’s done the best he probably could.
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