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 Adults
    Defa’s tight and tidy focus on communication — mostly verbal, sometimes role play (“Hug me like you haven’t seen me for three years,” Rachel instructs Eric) — adds a smart layer to this otherwise familiar tale of estrangement.
  2. Strays
    Over the next 90-plus minutes, the canines drop as many F-bombs as Pacino did in “Scarface.” Then there are the scatological jokes, each one more outlandish than the last, none bearing the slightest tinge of wit or joy.
  3. The Monkey King
    The rare moments in which an image pauses to catch its breath can be stunning, such as a shot of an endless expanse of flaming lanterns dangling over countless white ghosts — how the artist Yayoi Kusama might have designed the afterlife. There’s enough gags that a dozen land.
  4. birth/rebirth
    Wrapped in drab locations and jaundiced lighting (Chananun Chotrungroj’s photography is brilliantly bleak), this grisly gynecological horror movie is not for the squeamish.
  5. Simone: Woman of the Century
    Dahan, who also wrote the screenplay, provides a serviceable overview of Veil’s accomplishments and ethical sense (partly shaped by her experiences in the camps), and of the barriers she overcame in misogynistic civic spheres. But her biography deserved a more considered treatment — and a considerably less heavy hand.
  6. Landscape with Invisible Hand
    Landscape With Invisible Hand mashes up the teen romantic comedy and alien-invasion horror genres to campy, mixed results.
  7. Back on the Strip
    It’s both a shame and a wonder that the film managed to assemble such a beefed-up roster of talent — Snipes, Haddish, J.B. Smoove, Faizon Love and, in a cameo, Kevin Hart — for what amounts to a stilted, factory-line comedy.
  8. Billion Dollar Heist
    Billion Dollar Heist is not totally bankrupt, but in mining its central cybercrime for tidbits while smoothing over its complexities, the film erodes its power both as seminar and spectacle.
  9. Blue Beetle
    This unremarkable story, along with cheap-looking visual effects and Soto’s colorless direction, is a prime example of somnambulist filmmaking that lulls the audience into a mindless stupor. At least the Reyes family is a force to be reckoned with; their chaotic ensemble scenes are the most delightful, and truly unexpected, of the movie.
  10. All Up in the Biz
    All Up in the Biz, a new documentary directed by Sacha Jenkins, is a cogent, affectionate and largely apt tribute to Markie, the D.J. and rapper who was known as a gifted beatboxer.
  11. Love in Taipei
    A charming but ultimately formulaic exploration of cultural identity.
  12. Sound of the Police
    If you need a refresher on what “systemic” looks like, these thinkers offer it.
  13. Untold: Hall of Shame
    With compelling verve, “Hall of Shame,” from the director Bryan Storkel, tells the story of Conte’s ignominious rise and fall.
  14. Reinventing Elvis: The '68 Comeback
    If today Presley really needs a sales pitch, this movie is a good one.
  15. Between Two Worlds
    Carrère — known primarily in Europe as a writer of nonfiction books with a literary twist — applies a mood of cool journalistic sobriety to Marianne’s scandalous discoveries. . . Less compelling is the sentimental crisis that plays out because of Marianne’s deception.
  16. Aporia
    A deeply silly time-travel weepie buoyed solely by the soapy warmth of its performances.
  17. The Eternal Memory
    An uncannily intimate portrait of a couple adapting their relationship to a disease that affects the mind, The Eternal Memory doesn’t aim to hold spectators’ hands.
  18. King Coal
    In this melancholic, thoughtfully attuned cinematic essay, no mountain is more important than the people who are still confined to the claustrophobic tunnels of the past.
  19. The Pod Generation
    While its heady themes yield commentary that is ultimately just a tad thin, Barthes’s satire is best enjoyed the way it’s made — without taking itself too seriously.
  20. Medusa Deluxe
    At a time when too many movies feel cautious and constrained, Medusa Deluxe is gloriously uninhibited and gaudily diverting.
  21. Jules
    Underneath its ridiculous framing and outer-space high jinks, “Jules” is full to the brim with empathy for its elderly characters and their desire for personal agency.
  22. Red White & Royal Blue
    First-time director Matthew López gets us rooting for the cheeky couple’s transition from rivals to romantic bedfellows, boosted by the cinematographer Stephen Goldblatt, who photographs the leads so adoringly that you half-expect them to turn to the camera and hawk a bottle of cologne. Thanks to their playful chemistry, we’re sold.
  23. Aurora's Sunrise
    The film’s coherence is a reflection of both the skill of the filmmaker, and the heroic efforts of Aurora herself to ensure that her view of history would not be forgotten.
  24. The Last Voyage of the Demeter
    The script does find time for a feeble feminist gesture — the story’s sole woman can cock a rifle — and a monologue about racism. These efforts to update the tale are about as successful as those of the sorry crew, whose fates were written over a century ago.
  25. Love Life
    It’s more a grief triangle than a love triangle, and a late revelation alters its symmetry, erasing hard-won sympathy for one character.
  26. Heart of Stone
    And yet, even if the computer shenanigans look goofy, they’re more interesting than the movie’s run-of-the-mill spy thrills.
  27. A Compassionate Spy
    The general impression given by this warm, low-key film is that the spying was a simple act of pacifism. Countervailing voices are faint and few; anyone seeking more vigorous pushback will have to look elsewhere.
  28. Charm Circle
    Uri and Raya (who have disarmingly direct affects) show a mix of insight and innocence that also feels like a faithful rendering of the vulnerability within a relationship.
  29. Klondike
    The director favors absurdist tableaus . . . placid camera moves counterpointed by brutality and shots held so long that it almost seems as if the filmmaker is the one being cruel. It’s a grimly effective strategy for a harsh but powerful movie.
  30. What Comes Around
    The story, though neatly plotted, is engaging enough. The trouble lies in its staging.
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