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 Mill
    The film lacks any well-executed surprises to help it push past one-dimensional satire, and Howery is not strong enough of a dramatic actor to keep a single-setting, single-character film like this consistently engaging.
  2. Reality Winner
    The film is clear in showing how the media put her into boxes: a traitor, a terrorist, a progressive, an innocent, a lost cause. But who is Reality Winner? This documentary doesn’t dig deeper than her patently well-meaning exterior.
  3. Plan C
    At times, all of the secrecy and legal caution can make it hard to understand the complex logistics of getting a legal abortion in the United States. But the risks involved are bracingly apparent, and the documentary benefits from its attempts to capture Plan C’s high-stakes operation in progress.
  4. The Mission
    The most barbed aspect of the movie, a National Geographic release, is its acknowledgment of the role that National Geographic itself has played in exoticizing groups like the North Sentinelese.
  5. The Burial
    Directed by Maggie Betts from a script she wrote with Doug Wright, The Burial develops into a lively courtroom drama with wide-ranging pertinence. Of course its two lead actors give the bravura performances you’d expect from them, but they don’t eat the scenery — they take the material seriously and invest in it with welcome nuance.
  6. Anatomy of a Fall
    In a sense, Triet has mapped a path to nowhere. You can respect her choice intellectually and still walk away grumbling in frustration.
  7. More Than Ever
    Directed by Emily Atif, this middlebrow drama showcases Krieps’s captivating blend of melancholic fragility and spiky tenacity, riding on the strength of its performers, including the Gaspard Ulliel in his final live-action role before his accidental death in 2022.
  8. My Love Affair with Marriage
    The result evokes an adult puppet show crossed with a graphic novel, and like the budding female identity the film untangles, the whole thing takes a little time getting used to. Once you do, it is remarkably beautiful.
  9. Foe
    To their great credit, the Irish stars, often loosely clothed and soaked in sweat from the lack of air conditioning, have such presence and chemistry that it’s possible to believe in their intimacy — the pull and tangle of their bodies, their paroxysms of anguish — and even to pretend in the moment that they have full-fledged characters to play.
  10. The Royal Hotel
    Inspired by Pete Gleeson’s 2016 documentary about two Finnish backpackers, “Hotel Coolgardie,” The Royal Hotel is after something more subtle than pure horror.
  11. She Came to Me
    Amid the roiling neuroses of the adults, the young beloveds provide the film with a surprising emotional ballast.
  12. Totally Killer
    The fun premise can make for a passively enjoyable watch during a Halloween binge, but the film mostly feels like it’s just going through the motions.
  13. When Evil Lurks
    This is a dark and timely parable about what happens when trust — among community members, within families, between a government and its people — disintegrates.
  14. Dicks: The Musical
    Its only point is highly self-aware pseudo-gonzo provocation, peaking in a denouement that feels both surprising and inevitable, and looks as if it had been engineered to deliberately unsettle some viewers.
  15. The Exorcist: Believer
    Measured against the often mediocre standards of today’s glut of reboots and reimaginings, “Believer” is slickly professional, its young performers more than up to the task. It’s also disappointingly, if unsurprisingly, cautious, gesturing only wanly toward the original’s potent weave of puberty, religion and corporeal abuse.
  16. Fire Through Dry Grass
    The combination of firsthand footage with poetry makes for an intimate and raw film that gives a real sense of the confinement faced by the residents, some of whom compared the experience to previous jail stints.
  17. Nowhere
    It’s hard to care about Mía’s efforts to survive when coincidence drives the plot, and the production looks and feels cheap.
  18. Carlos
    This controlled documentary captivates as a soulful personal history, even if it doesn’t exactly transcend.
  19. The Kill Room
    While the supporting cast is replete with performers we like to see — Debi Mazar, Larry Pine, and Thurman’s daughter, Maya Hawke, as a feminist artist — the script, in the end, does little to support them.
  20. Story Ave
    Story Ave is marred by late revelations that appear designed, in a studio-notes sort of way, to clarify motivations. What’s unspoken — and what’s seen — does enough.
  21. Mami Wata
    It’s a tightly controlled vision that, like many parables, induces a sense of the suddenly, viscerally new — in the look of a figure against the ocean, or the words of a mother telling her child to run — in what we’ve seen before and have always known.
  22. Saw X
    The traps are disgusting; the plot, so self-serious its absurd (and knowingly so). And unlike the sundry sequels before it (by the third “Saw,” any pretense of ingenuity had been hacked off), this one manages to make you feel something beyond gross-out adrenaline — assuming you have affection for the franchise’s mainstays.
  23. Dancing in the Dust
    Dancing in the Dust shows Farhadi’s early confidence with using framing and cutting to create tension and parallels — skills that would serve him later.
  24. PAW Patrol: The Mighty Movie
    The film has no shame in being formulaic in plot or execution. Skye’s zero-to-hero plot arc is predictable as they come, though it’s easy to see why younger audiences may find it relatable.
  25. Reptile
    The trouble with Reptile is that this impressive moment-to-moment control does not extend to the contours of the broader story, which the writers overstuff with clumsy twists and contrived devices.
  26. Flora and Son
    This is Carney’s saltiest ode to creative expression — and, peculiarly, his most relatable.
  27. The Creator
    Despite the impressively sweeping C.G.I. running battles in Thai fields or seaside settlements, or the gritty “Blade Runner”-lite interludes in crowded metropolises, the story’s engine produces the straightforward momentum of your average action blockbuster — one thing happens, then the next thing, complete with punchy (sometimes tin-eared) one-liners.
  28. Paul Robeson: ‘I’m a Negro. I’m an American.’
    The movie sticks to the shallow end.
  29. Lady Killer (Gueule d’Amour)
    Like other love stories of the period, Gueule d'Amour has a melodramatic surface, yet it hits a nerve in anyone who has ever spent too much time thinking about the wrong person.
  30. The First Year (1972)
    Guzmán’s documentary is a people’s microhistory of a nation in transition.
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