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. Rotting in the Sun
    Rotting in the Sun is sharpest when exploring the two men’s love-loathe connection because Silva threads a provocatively fuzzy line between fascination for and irritation with Jordan and, by extension, Firstman himself.
  2. Amerikatsi
    It’s an intriguing scenario, though not always played out skillfully. For better and worse, we feel Charlie’s confinement fully, as he watches another’s life go by and yearns for a proper home of his own.
  3. Joyce Carol Oates: A Body in the Service of Mind
    Directed by Stig Björkman and narrated by Laura Dern, this documentary is so fixated on enshrining Oates within the canon of American literary giants that it skirts around the peculiarity and provocation of her ideas.
  4. Portrait of the Queen
    Elements that could have made for a somewhat intriguing documentary get lost in what amounts to a tedious piece of agitprop that ultimately regurgitates the dutifully respectful picture of Elizabeth we’ve seen time and time again.
  5. Scout's Honor: The Secret Files of the Boy Scouts of America
    Knappenberger does, thankfully, make space for survivors to share their own accounts, and their vulnerability lends authority to an otherwise anonymous film.
  6. Office Race
    Office Race, a ribald comedy from Jared Lapidus about an inveterate deadbeat reluctantly training for a marathon, understands one of the great unspoken truths about running: that it is a miserable, arduous, soul-destroying pastime, and also deeply, profoundly rewarding.
  7. The Equalizer 3
    Washington is unsurprisingly the primary reason to watch “Equalizer 3,” which is basically a showcase for him to smolder, swagger and light up the screen as he wanders a tiny, wildly beautiful town on the Amalfi coast.
  8. The Mountain
    Some might see the final act as body horror. To the director, it’s a metaphysical sacrament — and all along, his camera has hinted that mankind must commit to the planet before it’s too late.
  9. Choose Love
    Predictability aside, Choose Love resembles less of a comforting rom-com than it does the forgone conclusion to streaming’s algorithm-powered media: a series of disconnected, shallow interactions, each leading to a different predetermined cliché.
  10. Fremont
    Jalali maintains a mysterious ambiguity, but Wali Zada conveys what matters.
  11. We Kill for Love
    There’s something tough to resist about how “We Kill for Love” rescues works from the shadows.
  12. Ernest and Celestine: A Trip to Gibberitia
    In a film whose moral emphasizes the necessity of artistic freedom, there is a deceptive simplicity to this aesthetic style that makes it all the more special.
  13. Vacation Friends 2
    As the harried friends careen across the resort through a series of comical mishaps, the movie has the feel of a TV rerun. More compelling are the too-rare moments of plotless leisure.
  14. You Are So Not Invited to My Bat Mitzvah!
    The young cast proves deft with the film’s clever script, by Alison Peck (based on the 2005 novel by Fiona Rosenbloom), and the director Sammi Cohen indulges the virgin-mojito passions of preteens while avoiding nostalgia, thankfully.
  15. Blue Box
    The familial and personal tensions give it something extra, elevating it beyond the standard historical documentary.
  16. Before, Now & Then
    It’s a pity for both Salma and Basuki, whose expressive faces convey depths of feeling that the script and direction cannot quite match.
  17. Golda
    Extreme costuming often feels gimmicky, but here, it humanizes the director Guy Nattiv’s terse accounting of guilt.
  18. Perpetrator
    Screwy and strange, Perpetrator is gleefully unsubtle, but its ensanguinated excess is part of the fun.
  19. Our Father, the Devil
    In the assured hands of the writer-director Ellie Foumbi, Marie’s unraveling yields not only an absorbing psychological thriller, but a profound meditation on the ethics of immigration.
  20. Scrapper
    Scrapper is tender without falling into sappiness.
  21. Gran Turismo
    The movie doesn’t need to achieve the same levels of sensation as a wildly popular racing simulator, but it should convey excitement and dynamism in its own cinematic way. When the novelty of watching a gamer become a driver wears off, we’re left with an adequate racing drama in a medium built for so much more.
  22. Piaffe
    Its experimental style, marked by long, dialogue-free stretches, color flares and pristine sound effects, can seem calculated and off-putting, the narrative slight and dramatically slack. Yet the film’s provocations have a playfulness and generosity that are enormously appealing.
  23. Bottoms
    For most of its tight running time, Bottoms hovers on the cusp of greatness. It’s often funny but it also never delivers satisfying set pieces, and stops short of questioning — not to mention subverting — the warped high school stratification that remains one of America’s building blocks.
  24. Bank of Dave
    Even if the movie is about one small win, there’s a sedate pleasure in seeing it play out, especially knowing a version of it happened in real life.
  25. BS High
    The tale is one of greed and grift. But BS High, a documentary about the saga, is too taken by the audacity of Roy Johnson, the founder of Bishop Sycamore, to critique his actions.
  26. Retribution
    It’s clear why these films need Neeson: He commits to every line like his life actually does depend on it. But gravitas alone can’t salvage the frustrating plot contrivances and ridiculous dialogue that make the characters sound dumber and dumber the more they explain their motivations.
  27. Bella!
    [Abzug's] never-say-die advocacy still inspires, but the film also illustrates the merciless challenges of electoral endurance even for the fiercest fighter.
  28. Madeleine Collins
    Despite Efira’s efforts, Judith’s inevitable breakdown never hits a satisfyingly deranged register. Her motivations turn out to be less spicy, and more blandly sympathetic than one had hoped from this pressure cooker of a film.
  29. Mutt
    These features of city life feed a sense of realism, as does the film’s warmly-lit and intimately framed cinematography. But that realism here is exhausting, even if it is well-intentioned — by the film’s end, even Feña seems ready to escape from the trial of his packed plotlines.
  30. Miguel Wants to Fight
    There are some laughs and the cast is talented, but the movie ultimately falls flat, missing an opportunity to delve into the insecurity, teen bravado and anger that leads to physical fighting in the first place.
Page:

Top Trailers

See all »
See all trailers »