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. Centurion: The Dancing Stallion
    A formulaic family melodrama . . . which stars a stable of equine and human performers gamely mounting a Nicholas Sparks-like story line complete with romance across social classes, a conniving antagonist and grave health crises.
  2. Wynonna Judd: Between Hell and Hallelujah
    The film plays like a country song with more chorus than verse.
  3. Those Who Remained
    Those Who Remained leaves much unsaid about their pasts, sometimes at the risk of seeming coy (the word “Jewish” is never spoken). But Hajduk and Szoke are strong performers.
  4. Freaks vs. the Reich
    Its splashy, curiously filter-free adventures unfold in Italy and Germany during World War II, to sometimes awkward effect.
  5. The Restless
    Lafosse’s empathy as a director is admirable, but The Restless falls short of putting a compelling story to film.
  6. Four Quartets
    Fiennes brings the fire, yet the air around him remains unmoved, even by his embers.
  7. King Charles: The Boy Who Walked Alone
    If there’s one thing this movie demonstrates, it’s that whatever the actual function of said monarchy, it does give Britain’s taxpayers their money’s worth in drama if nothing else.
  8. The End of Sex
    In The End of Sex, parenthood appears to turn adults into babbling adolescents who blush and freeze up in the face of sexual opportunity. This dynamic is supposed to be cringe-funny, but over the course of an hour and a half, this staid farce proves otherwise.
    • tbd Metascore
    • 70 Critic Score
    Broadway
    Amid some uneven characterizations, the cast enlivens Broadway with their compelling performances, sealed by a stirring finale and a characteristically soaring score from Gabriel Yared.
  10. Clock
    Clock is a psychological thriller, or perhaps even a satire, in horror clothing, tantalizing us with thought-provoking ideas, only to abandon them: nature versus nurture, the influence of the wellness-industrial complex over minds and bodies, the oppressive expectations placed on women — including by themselves.
  11. Peter Pan & Wendy
    These well-meaning choices struggle to cohere into a satisfying picture.
  12. Winter Boy
    Winter Boy shines when it allows its actors to quietly play out family dynamics, with Lacoste, Binoche and especially Kircher wearing the many shades of grief with effortless, endearing naturalism.
  13. Nuclear Now
    The film’s aversion to formal or rhetorical bombast as it discusses scientists’ hopes for a better future is its own balm. We’re staring down catastrophe, Stone explains matter-of-factly, but our greatest tool is already in our grasp.
  14. Alan Pakula: Going for Truth
    Pakula’s work with actors or the resurgent meaning of his trilogy could have been documentaries unto themselves. But the viewer might not have gotten an adjacent set of insights from his family, particularly Hannah Pakula, his second wife. Her tender, incisive regard creates an ache even as it offers solace.
  15. Big George Foreman: The Miraculous Story of the Once and Future Heavyweight Champion of the World
    It’s a movie with its heart in the right place and its sense of drama nowhere in sight.
  16. Polite Society
    It’s a delight that borrows from everything — westerns, musicals, heist capers, horror, Jane Austen and James Bond — to build its writer and director, Nida Manzoor, into a promising new thing: a first-time filmmaker impatient to evolve cultural representation from the last few years of self-conscious vitamins into crowd-pleasing candy.
  17. R.M.N.
    The tame and the wild roam through R.M.N., nipping at its edges, adding visual texture and deepening its themes.
  18. The Eight Mountains
    The spiritual dimension of Pietro and Bruno’s bond has its appeal, and one of the movie’s pleasures is that it takes male friendship seriously. There’s an expressly erotic dimension to the men’s love for each other, as can be the case with intimate relationships, though not an explicitly carnal one.
  19. Are You There God? It's Me, Margaret
    The director-writer Kelly Fremon Craig’s rendering of the book about puberty, family and nascent spirituality offers lessons in how a cherished object, when treated with tender and thoughtful regard, needn’t turn precious.
  20. Sam Now
    Reed’s initial overeager stylings fall back to reveal a mature reckoning with love, hurt, independence, and hard-won wisdom.
  21. Sisu
    For all its gung-ho violence, the film never feels fraught or nasty enough: It never risks true offense or tastelessness, never takes a gamble on anything that could be interpreted the wrong way or that might sidestep expectations. Somehow it makes killing Nazis feel pretty tame.
  22. Ride On
    The film is so graceless and bizarre in its attempts at tugging at the viewer’s emotions that it often feels like a work of parody.
  23. Trenque Lauquen Parte II
    The pleasure lies in the telling — the invention of fictions, the performance of emotions — rather than in the details of plot. Once you lose yourself in the thickets of “Trenque Lauquen,” you won’t want to be found.
  24. Trenque Lauquen Parte I
    The pleasure lies in the telling — the invention of fictions, the performance of emotions — rather than in the details of plot. Once you lose yourself in the thickets of “Trenque Lauquen,” you won’t want to be found.
  25. Dry Ground Burning
    Pimenta and Queirós invent a world in which Brazilian women at the very bottom of the social totem pole take matters into their own hands. They do so without an ounce of fear or self-pity — and in killer style to boot.
  26. Twilight
    It’s a style so minimalist, it approaches maximalism — and this combination of pulp and precision creates an arresting and unique work of film noir.
  27. A Tourist's Guide to Love
    A rom-com that so scrupulously fulfills every cliché of the genre, it might as well have been devised by ChatGPT.
  28. Evil Dead Rise
    Lee Cronin, who directed Evil Dead Rise with many more colors of bodily fluid, is a meticulous creator of stunning shots. His camera doesn’t move. It dances, shifting, spinning, occasionally knocked on its side like a running back in a collision.
  29. Ghosted
    This tedious, unfunny, screamingly unoriginal romantic adventure film is so flimsy and so insubstantial that it’s practically vaporous.
  30. Other People's Children
    Zlotowski is telling a story about a specific woman. She’s also telling a complex, bruising, much larger and quietly self-aware story about both the messiness of life and the fragility of bodies that exist in the real world, not just in fantasies.
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