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 Origin of Evil
    Abounding with nasty women, The Origin of Evil could have easily been flattened by the weight of a feminist objective. Untethered from such neat messaging, this decadent murder-movie takes the online credo, “be gay, do crimes,” and runs with it — to delicious results.
  2. Expend4bles
    This all-star mercenary squadron composed of ’80s-to-aughts brutes is the cinematic equivalent to Slash’s Snakepit, a supergroup throwback to an era when men were meatheads and we in the audience merrily cheered them on.
    • tbd Metascore
    • 70 Critic Score
    Fear and Desire
    In essaying a dissection of the minds of men under the stress of war, Stanley Kubrick, 24-year-old, producer-director-photographer, and his equally young and unheralded scenarist and cast, have succeeded in turning out a moody, often visually powerful study of subdued excitements.
  4. Still Film
    Writer-director James N. Kienitz Wilkins’s “Still Film” is a stunning, acute critique of the regressive artistic sensibilities that plague contemporary Hollywood.
  5. My Sailor, My Love
    The actors are in full command of our empathy, especially Brennan’s gray-haired caretaker who, when she cracks open her heart, seems to glow from within.
  6. 26.2 to Life
    Yoo was granted exceptional access to San Quentin, and when she depicts the mundane qualities of life there — inmates working odd jobs, writing letters, passing the time alone in their cells — the movie gains some of the penetrating clarity of one of Frederick Wiseman’s films.
  7. Something You Said Last Night
    One can only watch Renata, and this film, do so little for so long before yearning for more than naturalism and tenderness to drive the slice-of-life story.
  8. It Lives Inside
    It’s a promising debut from Dutta, who offers a fresh premise that proves a natural fit for the genre.
  9. Cassandro
    Williams, an Oscar-winning documentary filmmaker, is an expert orchestrator of naturalism. The trouble is that lucha libre, built on glitz, is anything but naturalistic. The self-assured freedom Saúl channels in bed never makes its way into scenes in the ring, which tend to tire when they should dazzle.
  10. Neither Confirm Nor Deny
    The story assembles before our eyes like an illustration in a manual for superspies.
  11. The Storms of Jeremy Thomas
    The whole effort comes across more as an advertisement for Thomas’s genius — and Cousins’s obsession with him — than a true portrait of a discerning producer of outsider cinema.
  12. The Trial (El Juicio)
    Crafted entirely out of the televised 1985 trial of Argentina’s military junta, The Trial lays bare horrific crimes while showing the courage of victims, survivors and their families.
  13. The Saint of Second Chances
    The movie was directed by Morgan Neville (“20 Feet From Stardom”) and Jeff Malmberg (“Marwencol”), and is a tad more fanciful than their prior work. But fancy is a good fit for the Veecks, it turns out.
  14. Superpower
    Penn scores a coup by getting an on-camera interview with Zelensky on the first day of Russia’s invasion, and he films him on two additional occasions, in a video interview and in person on a later visit.
  15. Rebel
    At best, this drama picks apart the Islamic State’s nefarious recruitment tactics, taking on the fresh perspective of a Muslim family in Europe. These dynamics are rich, and the consequences agonizing — so it’s too bad the filmmakers seem to think that the bigger the spectacle, the more powerfully communicated this whirlwind of politics and emotions. The opposite is the case.
  16. Radical Wolfe
    Richard Dewey’s staid, by-the-book documentary can hardly match the flair with which Wolfe lived and wrote.
  17. Outlaw Johnny Black
    Outlaw Johnny Black struggles to establish a consistent comedic rhythm.
  18. A Million Miles Away
    In peddling the mythical American dream narrative, the film misses an opportunity for conflict or character development and falls short of delving into bigger, more interesting themes: assimilation, immigration, gender roles, family conflict.
  19. Remembering Every Night
    Ghosts linger, cameras linger. This is pensive, slow-slow cinema, like Bela Tarr with color but less compositional heft or, sometimes, clarity.
  20. Lift
    Petersen’s bare-bones, on-the-ground production works well for a story like this, highlighting how vital these small workshops in homeless shelters and community centers can be.
  21. The Inventor
    The Inventor is rife with somewhat didactic lessons — about power, innovation, curiosity — yet a presumably unintended one might be that lessons themselves, however insightful, are not always captivating.
  22. Invisible Beauty
    At times, the film is hampered by the sheer amount of information there is to condense from across a 50-year career, but Hardison is never less than a fascinating subject — an artist whose medium is industrial disruption.
  23. Mr. Jimmy
    “That is the meaning of tribute. Not showing myself at all. There is no ‘me’ to begin with,” Sakurai, who is now 59, says at one point. This is a terrifying notion, but the movie doesn’t choose to run with it.
  24. Dumb Money
    An energetic, ingratiating dramatization of the GameStop stock craze of 2021.
  25. Love at First Sight
    What are the odds that a premise as unimaginative as this one should emerge as a sturdy little romantic drama?
  26. A Haunting in Venice
    In straddling genres, “Haunting” can get stuck in the middle. But there’s fun to be had there. What’s consistent is the elegant visuals — striking cinematography by Haris Zambarloukos — which mark this movie’s real genre as lavish old-fashioned Hollywood entertainment.
  27. The Nun II
    The pacing of the film, set in the 1950s and directed by Michael Chaves, is too neat: It runs like haunted clockwork, shoving characters down dark alleyways or abandoned chapels every five minutes with little justification.
  28. My Big Fat Greek Wedding 3
    The ancient Greeks wrote tragedy after tragedy warning against hubris. Yet, Vardalos’s flailing crowd-pleaser needs a shot of self-confidence and logic.
  29. Aristotle and Dante Discover the Secrets of the Universe
    A less sentimental, wish-fulfilling approach to Mexican American identity, gay self-discovery and Reagan-era Texas will wait for another day. Until then, fans of “Heartstopper”-style slow-burn romance will eat up this tender film’s subtle charms.
  30. Hello Dankness
    Hello Dankness belongs to a venerable underground-film tradition of treating refracted entertainment as a mirror for society. No fan of Ken Jacobs’s “Star Spangled to Death,” Richard Kelly’s “Southland Tales” or Joe Dante’s “The Movie Orgy” could help but smile.
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