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. Take Care of Maya
    Take Care of Maya is grueling, but it is also oddly deficient, wanting for the precision and perspective essential to deriving insight from profound trauma.
  2. Stan Lee
    It’s disappointing, yet inevitable that the creation story of Lee gives way to the characters he helped create.
  3. Happer's Comet
    Sometimes wearying, sometimes pointlessly cryptic, Happer’s Comet nevertheless has a distinct way of viewing the world.
  4. Cadejo Blanco
    Had the film leaned more intentionally into the interior lives of its characters rather than positioning itself as a thriller, it may have been a more satisfying watch.
  5. Nobody's Hero
    Guiraudie is after something much different here: creating a palpable sense of the connection between fear and desire, which, sure, aren’t the most rational of our human impulses — but neither are love, marriage or jihadist crusading.
  6. Maggie Moore(s)
    Top-heavy with big names (Tina Fey, Jon Hamm) and set in a nondescript small town populated primarily by sad sacks and losers, the movie struggles to get out of second gear.
  7. The Flash
    I liked The Flash well enough while watching it. But thinking and writing about it and everything that has gone down has been dispiriting — real life has a way of insinuating itself into even better-wrought fantasies.
  8. Elemental
    The staggering design ambition balances out the plot’s affecting, relatable ordinariness.
  9. Asteroid City
    It’s comic and often wry, but like some of his other films, it has the soul of a tragedy.
  10. Extraction 2
    Burdened by its bluster, Extraction 2 is merely a loud, blithering mess masquerading as fulfilling escapism.
  11. The Blackening
    The Blackening comes with a horror movie’s requisite skittish and stalking camerawork, its creaks and breath-holding hushes, its gore and payback. But it is the friends’ flee, fight, freeze — or throw under the bus — banter that makes the film provocative fun.
  12. Users
    This negotiation between techno-pessimism and techno-fetishism is at the heart of Users, though Almada’s scattered movie struggles to keep them in balance; her broad, rhetorical voice-over is a poor match for the complexity of the film’s images.
  13. Transformers: Rise of the Beasts
    The plot is a bust. Five credited screenwriters and not one compelling stake.
  14. Dalíland
    While Dalíland occasionally edges into caricature, its take on Gala’s role in the marriage, her temperament and feverish attention to money is happily more complicated.
  15. A Woman Escapes
    [Campbell's] Audrey does nothing less than enact a kind of communion through voice and image.
    • 62 Metascore
    • 50 Critic Score
    The Angry Black Girl and Her Monster
    Fixing horror in the Black body is a tricky business, and “The Angry Black Girl” stumbles in the same way its ancestor, “Candyman” (1992), did.
  17. Persian Lessons
    Less kooky and gratingly precious than “Jojo Rabbit” or “Life Is Beautiful,” the film nevertheless also taps history with a movie-magic wand.
  18. Scarlet
    One of the attractions of Scarlet is that it doesn’t fit obvious categorization, which means that you’re not always sure where it’s headed or why. The vibe is by turns sober, warm, melancholic and playful to the point of near-silliness.
  19. Blue Jean
    The film’s most impressive quality is its nuanced understanding of how political circumstances create different spheres of life.
  20. Brooklyn 45
    Brooklyn 45 is overlong, repetitive and at times wearyingly stagy. The actors, though, can’t be faulted, convincingly turning unappetizing characters into broken people trying to move on from a war that keeps pulling them back in.
  21. Flamin' Hot
    Longoria, working from a screenplay by Lewis Colick and Linda Yvette Chávez, sprinkles lessons in self-esteem throughout. (The movie is Longoria’s feature directing debut.) And the women here — including Montañez’s mother and Judy — are more than run-of-the-mill catalysts. Still, should it come as a surprise that a movie this puffed up has a dusting of flavors that might not be real?
  22. Apes Together Strong
    The lessons here are old, and at one point, the filmmakers use the phrase “the house always wins.” But there’s hope, because there’s always hope in such tales
  23. Hollywood Dreams & Nightmares: The Robert Englund Story
    What the directors Gary Smart and Christopher Griffiths made is a documentary in spirit. But it’s really more of an annotated oral history of Englund’s entire, extensive IMDb page — almost film by film, in chronological order, for more than two hours. It’s exhausting.
  24. Squaring the Circle (The Story of Hipgnosis)
    Squaring the Circle is slick and enjoyable enough, but it is also, like the company it chronicles, something of a boutique item, and the reminiscences grow faintly monotonous after a while.
  25. Past Lives
    The movie’s modesty — its intimacy, human scale, humble locations and lack of visual oomph — is one of its strengths.
  26. Falcon Lake
    Death and desire swirl around the film’s charged atmosphere, though Le Bon has trouble meaningfully bringing out these elements in the narrative itself, hastily throwing in ambiguities in the last act to create a weightier sense of drama. The effect falls flat.
  27. Padre Pio
    LaBeouf essays a rather, let’s say, contemporary Pio. And completely sinks the picture.
  28. Rise
    This is a sweet, uncomplicated story relayed with enough entrancing dance breaks to fill an American halftime show.
  29. Concerned Citizen
    Haguel builds this brief but densely structured film in an interestingly modular, rhythmic way, thanks to a percussive score by Zoe Polanski and occasional, abrupt cuts to black following key scenes.
  30. Shooting Stars
    For what it sets out to do, detailing the bond of young boys under surreal circumstances, Shooting Stars is a relatively sturdy retelling.
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