The New York Times' Scores

Select another publication »
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
view
per page
  1. Chevalier
    That this movie — directed by the Canadian filmmaker Stephen Williams and written by Stefani Robinson — leans too mightily on romance to the detriment of exploring more fully his genius feels like a missed opportunity.
  2. Little Richard: I Am Everything
    I Am Everything is content to be a thorough, energetic, largely chronological appraisal, more interested in saluting a musical legend who shook things up than in shaking up conventions itself.
    • 59 Metascore
    • 40 Critic Score
    Carmen
    They make for a film with elements of dance on camera, musical, of-the-moment melodrama and visual poetry — but without a thorough commitment to any one of those and few, if any, moments of coalescence.
  4. Judy Blume Forever
    Blume has always been an open book, despite the flurry of controversy around her. That may not make for the most exciting documentary, but it does make Blume herself even more endearing.
  5. Quasi
    It’s dumb fun that is at times entertaining, at times flat.
  6. Guy Ritchie’s The Covenant
    For all its clichés, this furious and discomfiting film tugs on your conscience for days, making a powerful case to turn the American public’s attention back to a conflict it would rather forget.
  7. Somewhere in Queens
    Here, Romano sticks to the outer-borough Italian American milieu of his series. The results are mixed.
  8. Plan 75
    Baisho gets across the creeping despair that morbidity and the loss of community can create — a sensation that lets Plan 75 double as a consummate entry in pandemic-era cinema.
  9. The Pope's Exorcist
    Avery (“Samaritan”) drives the film at a pace as caffeinated as Amorth himself, and manages to incorporate legitimate scares into a plot halfway between Indiana Jones and a Dan Brown potboiler, with camp touches worthy of Ken Russell.
  10. The Last Kingdom: Seven Kings Must Die
    The compositions lack clarity, the score of undulating voices is comically clichéd and the visual effects are a dingy, nauseating mess. There are no stakes in a film that not only takes seven royal lives — it snatches several brain cells with them.
  11. Honorable Men
    Honorable Men: The Rise and Fall of Ehud Olmert is a rare instance of a two-hour documentary that should have been an eight- or 10-hour mini-series, because it would take that long to clarify all the issues it raises, then present persuasive evidence.
  12. Imagining the Indian: The Fight Against Native American Mascoting
    In tuning the project to the key of advocacy, the directors have created a film to nod along with, not one that unpacks complexity.
  13. Personality Crisis: One Night Only
    A first-rate raconteur, Johansen — wearing a pompadour, sunglasses and bespoke suit — brings the funk. The storied Café Carlyle delivers the chic.
  14. Beau Is Afraid
    Despite these attractions and in spite of Phoenix’s aura and his focus — and how he plays with the character, opening Beau up a wee bit with flickers of yearning and teasingly humanizing fissures — it is tough to care about a mouse who matters so much less to the filmmaker than the shiny mousetrap where he’s imprisoned you both.
  15. Hilma
    Hallstrom wins the audience back with his sincere connection to af Klint, played in her bullheaded youth by his daughter, Tora Hallstrom, and in her muttering years by his wife, Lena Olin.
  16. Passion
    Passion has a low-fi, hangout feel, flush with the youthful indie energy and forgivable pretensions of an artist who believes that filmmaking matters. Hamaguchi is still a student but already finding his voice.
  17. Wild Life
    Kris and Doug’s moving love story should be the emotional foundation of the documentary, but it’s edited in a bit too late. Paradoxically, however, we also crave more scenes of their individual transitions from bohemians to business titans.
  18. Suzume
    It’s not just the drama that works. Shinkai delivers hilarious physical comedy in the awkward gambols and leaps of Souta the three-legged chair — a refreshing reversal of the trope of the handsome young love interest who leads the naïve girl on a journey.
  19. The Plains
    Fans of structural film, “Jeanne Dielman” and Google Maps will find much to treasure, even if the narrative elements — and occasional cutaways to imagery shot in a more remote area in western Victoria — upset the movie’s rigor and purposeful tedium.
  20. Tommy Guns
    It’s a stylized spectacle, and the effects can feel discordant. Conceição eventually chips through the horror genre enamel to expose a message about the futility of war, but the tale’s miscellany of moods dulls its ultimate power.
  21. Sick of Myself
    Each time we think Signe has hit her breaking point, she perseveres. It’s deadpan funny at first, but then gets disturbing. Her refusal to give up the act proves to be more sickening than her physical symptoms.
  22. Mafia Mamma
    Trite, charmless and entirely without grace, Mafia Mamma weaves a wearying string of Mob chestnuts into a shallow empowerment narrative.
  23. The Lost Weekend: A Love Story
    Whatever the truth of Ono’s manipulations in this affair — and Pang’s claims, including that Ono asked Pang to look after Lennon in an especially personal way, are at times hair-raising — they tinge this saga with a resentment that’s off-putting.
  24. One True Loves
    Basic storytelling components are also ignored, as if entire scenes are missing, so that One True Loves, directed by Andy Fickman, stumbles even as a piece of Hallmark sappiness.
  25. Blind Willow, Sleeping Woman
    It works well as a visual companion for fans of the author’s work, and as a flawed enigma for everyone else.
  26. De Humani Corporis Fabrica
    The film’s sometimes brusque transitions and decentered perspectives are just as transgressive as any of the graphic imagery.
  27. Rare Objects
    Holmes is a generous but indiscriminate director of actors: She has the tendency, not uncommon among actors turned directors, of extending a cast of inconsistent talent a degree of latitude better reserved for the heaviest hitters. (She doesn’t have this problem with her own performance, which is both compelling and well-situated in the context of the film.)
  28. Everything Went Fine
    Understated almost to a fault, the film pitches its tone somewhere among the looming sorrow, gentle comedy and bureaucratic tedium that death, especially when planned, can entail. If the result is bracingly unsentimental, it’s also a touch inert — a little too poised to compel emotionally.
  29. Human Flowers of Flesh
    There is little story beyond the snatches of conversation we receive, but Human Flowers of Flesh brims with visual and aural detail from the rocky coasts and gurgling reefs.
  30. How to Blow Up a Pipeline
    How to Blow Up a Pipeline is at its best when it functions as a kind of roughed-up caper movie; it has a degree of suspense and efficiency that are becoming all too rare in the mainstream.
Page:

Top Trailers

See all »
See all trailers »