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. As Far as I Can Walk
    Exceptionally well-crafted and anchored by moving performances from Koma and Mensah-Offei, the film is, in one sense, a great work about that basic human desire to long for something better, and the heartbreak that often comes with it.
  2. Millie Lies Low
    In the end, the movie far too easily waves away the potential interpersonal damage Millie has caused.
  3. Ruby Gillman, Teenage Kraken
    Not even the matriarchal link at the story’s center feels satisfying, its good intention strangled by the plotty chaos.
  4. Nimona
    Attention has been paid; it’s just not equally distributed. The tone is uneasy teetering on anarchic, veering from giddily moronic one-liners to — more shockingly — a climax with deep empathy and visual awe.
  5. The Passengers of the Night
    It’s an inviting, paradigmatic story of female self-discovery and empowerment, so it’s too bad that the movie’s hold on you proves far less firm than Gainsbourg’s.
  6. Umberto Eco - A Library of the World
    Exploring fictional worlds with Eco for a guide remains a diverting and often enlightening pursuit.
  7. Every Body
    The film benefits from its choice of subjects, as Wall, Gallo and Weigel are all endearing and deeply informed.
  8. Rock Hudson: All That Heaven Allowed
    In the end, with only Hudson to deal with, Kijak gets the big picture.
  9. Run Rabbit Run
    Gloomy and vague, Run Rabbit Run is a moody, noncommittal tease replete with the usual spectral signifiers: clammy dreams, scary drawings, unsettling masks. Snook does everything but rend her garments in a performance that only emphasizes the busy vapidity of Hannah Kent’s script.
  10. In the Company of Rose
    In the Company of Rose is a pleasant portrait of an admittedly rarefied world, but one that doesn’t transcend its vanity-project origins. Perhaps it doesn’t intend to.
  11. Indiana Jones and the Dial of Destiny
    That character, or rather Ford, or really the two of them together are the main arguments for seeing “Dial of Destiny,” which is as silly as you expect and not altogether as successful as you may hope.
  12. Anthem
    Where the film’s archival footage demonstrates the limits of respectability politics, Anthem ends up being overly respectable — and inevitably reductive.
  13. Sin La Habana
    Nabatian is sympathetic to all three characters and their lack of easy choices, and his eye for small cultural details and rituals. . . enforces how identity continues to shape their lives even as they’re far from home.
  14. World's Best
    What works is the high energy, kooky cast who fling themselves into the carefree choreography — especially Magnus, a mugging, contagious delight.
  15. Taylor Mac's 24-Decade History of Popular Music
    We do see some of the audience participation, which was an integral part of the show, but we don’t hear from attendees. It’s a loss, because the event was, in essence, about the making of community through the ages but also through one day and night.
  16. Aloners
    Hong’s greatest strength is restraint. At every moment in which she could turn the film into an easier, feel-good story about a woman being taught how to wake up to life, she pulls back.
  17. The Perfect Find
    Good thing Union steers The Perfect Find with such sunny warmth and relatable poise, too, because the director, Numa Perrier, and screenwriter, Leigh Davenport (adapting Tia Williams’s 2016 novel of the same title), are not as assured.
  18. I'll Show You Mine
    It’s a good thing that Jagannathan and Brown have training in the theater: They imbue Priya and Nic’s densely verbal jousts, dodges and truths with compelling chiaroscuro hues.
  19. American Pain
    The utility of an energetic character study of depraved opioid kingpins is questionable. But the documentary unspools with enough style and spark to engage.
  20. Horseplay
    Horseplay is less an acutely mapped-out anthropological study into toxic masculinity and pervasive homophobia and misogyny, and more like having to spend a day chilling with the most annoying guys you know.
  21. All Man: The International Male Story
    Admittedly, the film is more dutiful than artful, ticking one box after another, a tendency that is especially obvious when it ventures to the dark side of paradise (the ravages of AIDS on employees and customers, the lack of diversity among the catalog models).
  22. Sublime
    An innocent gay-indie sweetness courses through this film, especially in the too-short glimpses into Manuel’s romantic cravings and in the final blissful minute, and the young cast’s naturalistic performances make it all feel lived-in and truthful. But Biasin’s script plods.
  23. The Country Club
    These visual flourishes, while derivative, are charming and well-realized. The writing, however, has none of Anderson’s wit, tending instead toward a kind of broad and fatuous slapstick that’s closer to “2 Broke Girls” than “The Royal Tenenbaums.”
  24. Revoir Paris
    Even as Winocour piles on too many complications, she retains an appreciable astringency — call it a sense of emotional realism about what it means to actually survive — that keeps bathos at bay. Together with the superb Efira, she earns your tears honestly.
  25. God Is a Bullet
    The misogyny of the movie’s risibly sadistic villains is only one distasteful thread in this sleazy saga of rescue and revenge.
  26. Desperate Souls, Dark City and the Legend of Midnight Cowboy
    “Desperate Souls” convincingly argues that there’s no other time at which Joe Buck (Jon Voight) and Ratso Rizzo (Dustin Hoffman) could have become enduring movie characters, let alone have the tenderness between them depicted so subtly.
  27. Here. Is. Better.
    The documentary, directed by Jack Youngelson, is about the slow, difficult work of reaching out, opening up and eventually finding a glimmer of hope, day by day.
  28. The Stroll
    If The Stroll is an indictment and elegy, it is also a remarkable document of the self-determination of the women and workers who learned, in the face of the worst odds, to fend for themselves and each other.
  29. Surrounded
    Wright’s lean, long face is sometimes all hard angles, and she enacts the largely stoic mien of her character with weight. If Surrounded had carried through its overdetermined premise more assuredly, she’d have made a compelling hero/heroine here.
  30. No Hard Feelings
    Lawrence is a consistently incandescent screen presence, and her role lets her run through her greatest performative hits, so to speak. She’s goofily sexy, poignantly wide-eyed and retains a beaming, you-can-deny-her-nothing smile.
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