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 Cow Who Sang a Song Into the Future
    The power of Alegría’s feature debut is found not in dialogue or explication, but in the lyrical, magical realist qualities of folklore: disappointed mothers and fathers, sacred animals and cursed rivers, love and forgiveness.
  2. Sanctuary
    The writing (by Micah Bloomberg, a creator of the 2018-20 TV series “Homecoming”) is so sharp, the acting so agile and the cinematography (by Ludovica Isidori) so inventive that what could have been a stuffy experiment in lockdown filmmaking is instead a vividly involving battle of wills.
  3. White Building
    The film’s loose plotting and secondary character development can leave a few too many hanging threads, but its sense of place is so palpable you can almost smell the smoky city markets, the sweat, the hormones.
  4. The Night of the 12th
    This is a refreshingly grounded, deceptively plain picture of crime-fighting as a grind of false leads, workplace fatigue and no closure.
  5. White Men Can't Jump
    This version has little quirk and less spark.
  6. Giving Birth to a Butterfly
    The forced profundity of the “Butterfly” script undermines the film’s enthralling sense of atmosphere, which drips with melancholy, menace and wonder.
  7. Queenmaker: The Making of an It Girl
    The finale is as compassionate as it is sad and unnerving.
  8. Anna Nicole Smith: You Don't Know Me
    The solemn excavation of Smith’s life and death — she died at 39 of a drug overdose, in 2007 — ultimately brings the movie, despite Macfarlane’s well-meaning efforts, squarely into the territory of what it’s attempting to condemn: lurid voyeurism.
  9. Hypnotic
    The movie is, if nothing else, ruthlessly efficient enough in delivering its crowd-pleasing bits that truly starving suspense genre hounds, at least, won’t necessarily mind.
  10. Crater
    Most of all, the film is surprisingly nimble at incorporating an emotional core that makes its story more interesting than the adventure itself.
  11. The Mother
    Apart from some deadpan exchanges between the Mother and Zoe, Lopez plays the role fierce. Even so, it isn’t always clear which gestures in the film should be taken seriously, and which make sport of the genre’s masculine posturing while offering an allegory about a birth mother’s sacrifice.
  12. Monica
    Both Lysette and Clarkson are naturally magnetic actors, and they don’t waste the attention they’re given on excess sentimentality.
  13. BlackBerry
    A wonky workplace comedy that slowly shades into tragedy.
  14. Still: A Michael J. Fox Movie
    While this documentary draws on a standard tool kit of re-enactments and archival material, its best device is to use clips of Fox’s own movies as a counterpoint to his words, as if Fox weren’t playing fictional characters, but himself.
  15. It Ain't Over
    A lively, engaging and moving documentary.
  16. L'Immensità
    In dreams, he imagines himself and his mother as glamorous figures in a monochrome variety-show spectacle, poignant bouts of movie-magic that underscore both Andrew’s innocence and his sharpening intuition: Freedom, for the both of them, will mean upending reality itself.
  17. The Starling Girl
    A tender tale, The Starling Girl twirls through a spate of clichés — many surround Jem’s relationship to her alcoholic father, Paul (Jimmi Simpson) — but sticks the landing thanks to Parmet’s rapt attention to the shifting desires of her central character.
  18. Fool's Paradise
    There’s something grudgingly admirable about the voluble star essentially spending an entire film doing reactions. But it’s a disastrous move in a Hollywood satire that already needs to be more than a grab bag of jokes.
  19. Dealing with Dad
    The film is at its most compelling when tackling this tension between care and resentment head-on — it has a ring of truth that’s sadly squandered whenever Huang reaches for easy laughs.
  20. Geographies of Solitude
    It is to the great credit of “Geographies of Solitude” that it never feels expository: It turns an ecology lesson, and an account of a noble, steadfast, single-minded pursuit, into art.
  21. Queens of the Qing Dynasty
    McKenzie doesn’t rely on the usual uplifting messaging and strained empowerment arc to humanize An and Star . . . Their friendship remains mysterious, yet the film, as if by witchcraft, makes their connection feel palpable and true.
  22. The Melt Goes on Forever: The Art & Times of David Hammons
    This is a substantial, patiently made, entertaining portrait, with a percussive, rhythmic jazz score by Ramachandra Borcar and some emphatic spoken word courtesy of Umar Bin Hassan of the Last Poets. But eventually, the rich interpretive consideration of Hammons’s essence, philosophy and process starts to vanish.
  23. What's Love Got to Do with It?
    A glossy lesson in how to pour nontraditional content into a traditional rom-com mold, Shekhar Kapur’s What’s Love Got to Do With It? shapes competing notions of happily-ever-after into comfort food.
  24. Guardians of the Galaxy Vol. 3
    Though this “Guardians” is certainly less fun than the others, there are still glints of joy in the more mundane and ancillary quibbles among the found family of misfits.
  25. Riceboy Sleeps
    Even while it’s hampered by these rough edges, the movie is terrifically scored and beautifully shot.
  26. Unrest
    The film punctures that airless sense of fate which can suffocate period pieces and restores this moment of upheaval to immediacy.
  27. Anxious Nation
    When it comes to the causes of this mental health crisis or the precise ways in which it manifests, the documentary falters, unable to distill its empirical material into insights.
  28. Slava Ukraini
    Artistic values aren’t really the point, which is to meet Ukrainians and to see different corners of the bombarded country, where residents, Lévy suggests, have in many cases become inured to the sight of a bombed office building or to the sound of warning sirens.
  29. You Can Live Forever
    You Can Live Forever sticks to a fairly common coming-of-age trajectory.
  30. Chile '76
    Chile ’76 is a sly genre exercise, an example of how political repression can squeeze a domestic melodrama until it takes the shape of a spy thriller.
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